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Speaker 1: A centeral is the protection of my heart radio. So

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Speaker 1: Matt and I were talking about bands putting out new

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Speaker 1: music on old formats, mainly tape, cassette and vinyl. We

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Speaker 1: have a new person who's working at our office named Seth.

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Speaker 1: He runs a record company where he specifically will take

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Speaker 1: your music and make a vinyl record out of it.

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Speaker 1: That's what he does right here, Yeah, Seth. Nicholas Johnson's label,

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Speaker 1: Haunted Birthday Records, releases music in a truly unique way,

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Speaker 1: utilizing a format which I knew nothing about. This is

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Speaker 1: how he explained it to me as we hung out

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Speaker 1: in the studio and listen to records you hear from

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Speaker 1: us after this track and a little soware it anywhere happy?

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Speaker 1: And when you disappeared you gave me quite a fair

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Speaker 1: very reppear under the strong light I watch at the

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Speaker 1: disco and you'll little where it made me happy when

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Speaker 1: you disappeared into the ground, all move and I saw

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Speaker 1: and I saw you here ye again when all you

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Speaker 1: good that scream under that's what you have bound h

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Speaker 1: m hmmmmmm. I saw you ever disco and I know

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Speaker 1: that soon I saw out and I'm here down that

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Speaker 1: you make for me. Ever, disco wait didn't and I

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Speaker 1: saw you come up and to give what I wush

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Speaker 1: m h h, I have lost school. Oh that's so

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Speaker 1: it will be the world said one. Oh yeah, so

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Speaker 1: who who's that? That was a guy named Elias Mason

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Speaker 1: and he made that song with his creative partner June York.

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Speaker 1: And this was a little A side B side single

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Speaker 1: with the swoon on one side and diamonds on the

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Speaker 1: b side. So there we go, swoon on one side

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Speaker 1: and diamonds on the b side. That was swoon. This

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Speaker 1: one was diamonds. This was diamonds the side. Yes, okay,

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Speaker 1: so Seth, just what the heck is it that you do? Exactly?

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Speaker 1: Mostly what I do is I run a record label.

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Speaker 1: And in today's world we live in two thousand nineteen,

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Speaker 1: running a record label doesn't really mean what it used

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Speaker 1: to mean a billion years ago, right, Like, people don't

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Speaker 1: need record labels in the same way they used to

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Speaker 1: need them back in the sixties, seventies, eighties, even the nineties,

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Speaker 1: around around when people could start to self distribute with

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Speaker 1: any kind of like reliability of like, hey, I can

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Speaker 1: actually just put my album out there, people can actually

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Speaker 1: find it and then I can actually make money from it.

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Speaker 1: Once that started to happen, I think the world became

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Speaker 1: a much better place. But record labels needed another reason

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Speaker 1: to exist. So the only reason I could find to

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Speaker 1: actually maintain my reason for wanting to have a record

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Speaker 1: label and actually making myself be a company was that

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Speaker 1: I needed to make sure I could provide something to

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Speaker 1: ban something they couldn't get other places. And the thing

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Speaker 1: I decided to just because I enjoy it, was to

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Speaker 1: start making a very specific kind of vinyl for people

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Speaker 1: who want it, and to to to let people have

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Speaker 1: this product that I'm making. So I only know a

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Speaker 1: little bit about it, Pretend I know nothing about it.

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Speaker 1: What what? What is this thing? Specifically? These are lathe

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Speaker 1: embossed records. So, um, I'll I'll spell it out in

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Speaker 1: a in a very broad sense. Anyone who's listening who

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Speaker 1: knows like the depths of all the audiophile stuff will

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Speaker 1: correct me on everything. But I'm just going to like

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Speaker 1: spell it out in like real simple terms. When it

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Speaker 1: comes to creating records, and I'm talking about just like

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Speaker 1: like the standard records you're buying a store, like a

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Speaker 1: vinyl record. There are basically three ways to make it. Uh.

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Speaker 1: The most common way is you you basically stamp them.

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Speaker 1: It's like you get to like negatives of the record,

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Speaker 1: the negative side a negative side B and think about

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Speaker 1: like a like a waffle iron. You know. You just

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Speaker 1: like put in this stuff, squish it together, boom outcomes

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Speaker 1: your record. Right. That's that's the standard way to do it.

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Speaker 1: The other two ways one is called lathe cutting and

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Speaker 1: one is called lathe embossing. So you know what a

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Speaker 1: lathe is, right, like like like a would shop, you know. Yeah, yeah,

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Speaker 1: So for our listeners if anyone doesn't know what a

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Speaker 1: lathe is, basically, it's just like a rotating tool. That's

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Speaker 1: all there is to it. So, um, the way that

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Speaker 1: a lathe embosser and a lathe cutter works is that

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Speaker 1: there's a record cutting head with a little stylus on

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Speaker 1: the bottom that's moving at very precise, very exact, very

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Speaker 1: steady speed and like an X axis like across a

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Speaker 1: blank record, and the the stylus, the actual like needle

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Speaker 1: for lack of a better term, is vibrating with the

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Speaker 1: music that you're putting into it. And then that is

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Speaker 1: either cutting a groove or embossing a groove into this

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Speaker 1: piece of plastic, this piece of acetate, the piece of

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Speaker 1: polycarbonate or whatever people make stuff out of, um, chocolate, ice, um, cardboard,

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Speaker 1: anything you want, Well, I've got it written down here.

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Speaker 1: Uh what all can you make a record out of?

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Speaker 1: So many? I mean, I mean, to be completely honest, anything.

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Speaker 1: The big question is what's going to sound good? You know,

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Speaker 1: like I've heard an ice record and it sounds kind

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Speaker 1: of garbage? How okay? Well, so when you where did you?

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Speaker 1: Where did you hear an ice record? There was a

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Speaker 1: band I believe it was the Shout Out Louds. I

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Speaker 1: hope I'm getting that correct, but I'm n sure I am.

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Speaker 1: And what they did is they made a um to

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Speaker 1: release their new single. They released a silicon silicone silicon

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Speaker 1: which which one is it rubbery stuff, silicone, silicone or silicon? No,

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Speaker 1: silicon Valley, Silicone is the rubber. Yeah, okay, So it

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Speaker 1: was a silic. You could do a silicon record, but

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Speaker 1: potentially it would be very expensive. Think the silicone was

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Speaker 1: for like the almost like uh like an ice tray, okay.

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Speaker 1: And so you filled it with water and they recommended

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Speaker 1: that you used like a nice like distilled as clear

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Speaker 1: as possible water, so you don't get any you know,

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Speaker 1: little bumps and stuff, no tap water. Yeah, and you

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Speaker 1: freeze it and then you put on your record player

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Speaker 1: and it's it worked exactly like an ice cube. That's

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Speaker 1: exactly what it was. Oh so that again was just

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Speaker 1: the negative imprint. Was it only on one side of

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Speaker 1: the correct so you would just like sort of like

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Speaker 1: it would be like making the B side, I get

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Speaker 1: the underside, and it's it's uh, what's the right term

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Speaker 1: for that. I mean, it's it's raised I guess in

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Speaker 1: the tray in the in the Yeah, exactly inside the mold.

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Speaker 1: It would be raised and then you you fill it

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Speaker 1: and then the grooves would be there and then you

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Speaker 1: would you would pop it onto your record player, regular

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Speaker 1: record player. That's the most dangerous part. Yeah, in a

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Speaker 1: in a walk in freezer or something. You got to

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Speaker 1: be careful what that part I mean, because the it's

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Speaker 1: going to start dripping. You gotta play at once and

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Speaker 1: get rid of it. But so you you said you

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Speaker 1: heard one play, how did it sound? Not very good? Still,

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Speaker 1: so it is like that's that's the fun of analog

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Speaker 1: music is that it feels like a magic trick, you know,

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Speaker 1: like and that's that's kind of like the guy who

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Speaker 1: trained me. Um, because, um, there's this guy out in Tucson, Arizona.

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Speaker 1: His name is Michael Dixon, and he runs a record

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Speaker 1: label called Theaptic Records. And spell it because it's a

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Speaker 1: weird spelling, p I A p t K. It stands

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Speaker 1: for people in a position to know. Oh, okay, we'll

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Speaker 1: have to link it. And uh, he's a fantastic dude,

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Speaker 1: and he um he trained me everything. Everything I know

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Speaker 1: I learned from him basically, other than like the things

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Speaker 1: i've you know, gleaned other places. But yeah, that's like

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Speaker 1: where I got my machine was from this dude. Whenever

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Speaker 1: I need like new eyelas is from my machine, I

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Speaker 1: have to like write to him to get them. Like

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Speaker 1: he's he's my connection. I want to talk more about

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Speaker 1: all the things that records, but let me let me

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Speaker 1: back all those So, so there's three kinds of ways

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Speaker 1: to make a record, Yes, and yours lathe embossed is

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Speaker 1: the embossed. What's the difference between the embossed and the

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Speaker 1: other kind of lane? Lathe cut? Yeah, what's the difference

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Speaker 1: between the cut and the embossed? Think about a muddy

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Speaker 1: field okay, okay, And you are carrying a stick in

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Speaker 1: your hand, all right, and you're walking and you're dragging

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Speaker 1: the stick behind you in this muddy field. So you're

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Speaker 1: not actually getting rid of any of that mud. You're

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Speaker 1: just creating a groove from where your stick is dragging.

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Speaker 1: So all the I guess excess mud is just kind

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Speaker 1: of slightly going out and maybe creating slight ridges along

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Speaker 1: the edge. Right, So that's that's embossing. You're not removing

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Speaker 1: any material from the actual physical blank record, You're just

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Speaker 1: slightly pushing it away. And so every once in a while,

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Speaker 1: the fascinating thing about that is that, um, so it

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Speaker 1: creates these things that are referred to as horns horns,

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Speaker 1: and so what it is is, uh, every once in

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Speaker 1: a while on a lathe embossed record, when you drop

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Speaker 1: the needle on, it won't land in the groove, it'll

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Speaker 1: land on the horns and it'll sound like it's broken

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Speaker 1: and terrible. And so that's fun too. So if you

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Speaker 1: go to a regular music store and you buy a record,

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Speaker 1: it's it's usually a pressed a pressed record, yes, so

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Speaker 1: that's pouring what vinyl in or something. Yeah, it's it's

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Speaker 1: standard vinyl. I believe it's science word, like you know,

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Speaker 1: polyvinyl chloride or something. And um, if you go to

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Speaker 1: a factor, you'll see him that come in what are

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Speaker 1: called either biscuits or pucks. And it looks just like

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Speaker 1: kind of like a little hockey puck, like that shape

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Speaker 1: of like soft poly vinyl chloride. I'll pretend and uh yeah, yeah,

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Speaker 1: it looks just like a waffle. Wafflemaker just presses it down,

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Speaker 1: opens up, pull out your record. And that's the most

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Speaker 1: economic way to make a bun shud Begs records. Yes,

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Speaker 1: but that's the problem from what you just said, and

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Speaker 1: that that also explains why I do this entirely, which

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Speaker 1: is if you go to a standard record manufacturer and

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Speaker 1: you say, hey, I would like a record made please,

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Speaker 1: they go great, and you go I need hundred and

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Speaker 1: fifty They go no, no, no, no no. Like the

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Speaker 1: cost to make one record in an actual plant right well,

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Speaker 1: actually manufacturing the plates and stamping it is so big

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Speaker 1: that you can't do it in small batches. You have to. Um,

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Speaker 1: most places have a minimum of three d records and

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Speaker 1: a weight of about three months to get your records.

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Speaker 1: Is it cost to get through hundred records down a

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Speaker 1: place like that, a lot, a whole lot like UM.

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Speaker 1: In all honesty, are prices per record are actually pretty

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Speaker 1: comparable UM because it's actually pretty expensive still to make

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Speaker 1: physical records no matter who you are and at what

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Speaker 1: level you're doing it, So um our prices are actually

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Speaker 1: pretty similar. The differences are that they only have to

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Speaker 1: do it once, whereas I if I'm doing since I'm

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Speaker 1: using my machine and my plastic and going through the

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Speaker 1: through the motions. If someone orders fifteen records from me,

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Speaker 1: I'm doing them at one x speed fifteen times to

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Speaker 1: take me through this step by step, make er, you know,

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Speaker 1: make a record totally in your mind here totally um

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Speaker 1: and and this is the way that I do it,

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Speaker 1: the lathembossing that way, you got it. That's what you're

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Speaker 1: here for. That that's what you're totally. So what I'll

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Speaker 1: do is, first I called my plastic manufacturer and I

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Speaker 1: order a whole bunch of polycarbonate. Polycarbonate is basically plexiglass.

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Speaker 1: It's used for eyeglass lenses, it's used for a bulletproof glass.

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Speaker 1: It's used for you know, all that transparent plastic glass substitute.

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Speaker 1: That's polycarbonate um. Through trial and error, UM, all of

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Speaker 1: the people who have done this over the years have

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Speaker 1: discovered that that's what works best for this system is

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Speaker 1: because you can do this onto Like I said, almost

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Speaker 1: any surface people have done it onto, like picnic plates

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Speaker 1: or like just anything, any any surface you can imagine,

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Speaker 1: you can do it into it, but it just might

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Speaker 1: not sound very good. So poly carbon it is the

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Speaker 1: easiest to get, sounds pretty good. And it's also just

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Speaker 1: like very um. It's malleable, it's easy to acquire, it's common,

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Speaker 1: you know. So I contact my plastics manufacturer and depending

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Speaker 1: upon what size I need. If I'm making seven inch

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Speaker 1: records a twelve inch records, I'll be like, hey, I

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Speaker 1: need um twelve inch records. They come in these like sheets.

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Speaker 1: I'm like, hey, can you cut these into twelve inch

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Speaker 1: squares for me? And they go, sure thing, Zip zip zip.

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Speaker 1: I drive out to my place that's O t P.

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Speaker 1: You know, in Alpharetta or something, pick up my records

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Speaker 1: and then I I'm sorry, pick up my squares of plastic,

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Speaker 1: bring them back home. Uh. And then the next step

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Speaker 1: is I need to cut them into a circle, because

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Speaker 1: a twelve inch square will not fit on a record

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Speaker 1: player because the actual sides will run into the edges

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Speaker 1: again and again. So I need to cut into a circle.

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Speaker 1: So I have a m I believe it's yeah, it's

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Speaker 1: a router, a circle route or put a circle jig

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Speaker 1: on it and cut into a circle. Then I have

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Speaker 1: a drill press where I'll drill the hole in the

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Speaker 1: middle of the record into it, and then there we are.

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Speaker 1: We have a just plane, blank plastic circle. I then

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Speaker 1: go to my machine. And these machines are very odd.

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Speaker 1: They are um leftovers from the radio era, like and

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Speaker 1: I'm talking like nineteen thirties radio era. So um yeah,

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Speaker 1: like pretty much all of the lathe the home made

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Speaker 1: lathe machines in the world are all about a hundred

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Speaker 1: years old at this point at all, because because they're

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Speaker 1: all just left over parts, no one manufactures machines for

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Speaker 1: this anymore. So most people in this field and in

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Speaker 1: this hobby, I suppose UM use a machine called a

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Speaker 1: Presto six N that is horribly uninteresting to most people,

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Speaker 1: but that is the exact kind. Is that way, you

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Speaker 1: have a Prestice sen I'm fancy, so I have a

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Speaker 1: Prestoe a d G. So the the there's not much

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Speaker 1: of a difference. Um. The only difference is, like mine

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00:16:08,960 --> 00:16:11,280
Speaker 1: is a pretty big console and it UM is a

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Speaker 1: bit more rigid and rugged, so I don't have to

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Speaker 1: fiddle with it as much. I can do a lot

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Speaker 1: of records with UM some assurance that it will work

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Speaker 1: out well, whereas if using a six end you have

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Speaker 1: to kind of like check after every single record you

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Speaker 1: make to make sure that it's working still, because I

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Speaker 1: mean you think about it, like the whole idea of

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Speaker 1: records is based on the idea of vibration. So if

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Speaker 1: your machine is perpetually vibrating for hours on end, all

260
00:16:37,960 --> 00:16:40,840
Speaker 1: your little adjustments, all of your all of your screws

261
00:16:40,880 --> 00:16:42,600
Speaker 1: that are tightened, everything that needs to be where it is,

262
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Speaker 1: it's just subtly shaking itself out of alignment the whole

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Speaker 1: time you're using it. So it's a can be really annoying.

264
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Speaker 1: That seems pretty problematic. Yeah. So so these machines, like

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Speaker 1: I said, um, they are old. Um you know because

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Speaker 1: old days a radio, right, So we're talking fiber fibmcgee

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Speaker 1: and molly, you know, like talking about whom Oh that's

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00:17:03,960 --> 00:17:06,639
Speaker 1: like an older thirties or forties radio show. Fibbru McGhee

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Speaker 1: and Molly. It was Fibbru McGhee and Molly. It was

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Speaker 1: very popular back in the day. I totally believe you.

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Speaker 1: I'm gonna have to That reference went right over my head.

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Speaker 1: I am coincidentally, also very into old time radio. So

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Speaker 1: we can talk about the Great Guilder Sleeve all day.

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Speaker 1: Don't worry about it. Okay, we're gonna have I'm gonna

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Speaker 1: check my references, I guess alright. Anyway, in the days

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Speaker 1: of Fibber McGhee and Molly, Yeah, back then, UM, most

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00:17:32,040 --> 00:17:34,280
Speaker 1: radio shows back then were made to be played once

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Speaker 1: and often just done live and then over. They that's it,

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Speaker 1: they move on to the next one, because the concept

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Speaker 1: of reruns wasn't really a thing yet. So apparently I

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Speaker 1: wasn't there. But apparently one of the things that really

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Speaker 1: spurned on the whole idea of a rerun was World

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Speaker 1: War Two. Because during World War Two, UM, they still

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Speaker 1: wanted to have um military radio stations playing like a

285
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Speaker 1: lot of the shows they played here, but they wouldn't

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Speaker 1: like broadcast them like the same intervals and same times

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Speaker 1: because you know, it's international blah blah blah. So they

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00:18:05,640 --> 00:18:08,600
Speaker 1: started actually putting things onto records, and they had to

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00:18:08,600 --> 00:18:10,880
Speaker 1: figure out a way how to do that. So that's

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Speaker 1: where these Presto six ends came in. Pretty Much every

291
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Speaker 1: single UM radio station back in the days, let's let's

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Speaker 1: say the thirties through the fifties had a Presto record

293
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Speaker 1: maker in their building amongst all their stuff and so

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Speaker 1: and same thing with like a weather report or like

295
00:18:26,000 --> 00:18:29,080
Speaker 1: a news bulletin or anything. If you just had to

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Speaker 1: have something and then replay it later, that's how you

297
00:18:31,400 --> 00:18:35,000
Speaker 1: did it. And so so that's where these machines came from.

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Speaker 1: And one day someone realized, oh man, you know I

299
00:18:38,160 --> 00:18:41,919
Speaker 1: could do something with this, and I UM various people started,

300
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Speaker 1: hobbyists just started developing ways to make this all work.

301
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Speaker 1: So so so anyway, so I go to my machine

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Speaker 1: with my new newly made plastic circles, walk up to them,

303
00:18:51,040 --> 00:18:53,840
Speaker 1: and uh, I take my music source. Now, the music

304
00:18:53,880 --> 00:18:56,399
Speaker 1: source can be nearly anything. The way I have my

305
00:18:56,480 --> 00:18:58,920
Speaker 1: system set up in my house is um it's just

306
00:18:58,960 --> 00:19:02,040
Speaker 1: all based on a one inch outlet. So anything that

307
00:19:02,080 --> 00:19:04,600
Speaker 1: can be plugged into a one eighth inch headphone jack

308
00:19:05,000 --> 00:19:08,960
Speaker 1: I can put onto a record and your iPod. Yes,

309
00:19:09,000 --> 00:19:13,399
Speaker 1: exactly my iPod. Uh, both our owners of recurrent owners

310
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Speaker 1: of iPods. Still you have to be I don't have

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Speaker 1: the alternative. I don't know what it could be yet. Um.

312
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Speaker 1: And then you you plug it in and um, if

313
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Speaker 1: you're smart, you would probably master it a little bit

314
00:19:24,160 --> 00:19:26,919
Speaker 1: before to make sure you're taking full advantage of everything

315
00:19:26,960 --> 00:19:30,160
Speaker 1: that you're doing. Like I run it through a graphic equalizer,

316
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Speaker 1: and I have a preamp where I can turn things

317
00:19:32,560 --> 00:19:34,439
Speaker 1: up and down and all that kind of stuff. But

318
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Speaker 1: generally someone has sent you. I mean, if you're doing

319
00:19:36,840 --> 00:19:40,919
Speaker 1: work for somebody, somebody has sent you the finished Yes.

320
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Speaker 1: But even then, even so, let's say the song we

321
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Speaker 1: heard earlier, okay, um uh, this person alias Mason would

322
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Speaker 1: have sent me this song and said, here you go,

323
00:19:50,400 --> 00:19:52,680
Speaker 1: here's a song, please put this on a record, blah

324
00:19:52,720 --> 00:19:55,879
Speaker 1: blah blah, here's the details. Like great, Um, I still

325
00:19:55,920 --> 00:19:58,360
Speaker 1: have to do this thing where it's Um. So there's

326
00:19:58,359 --> 00:20:00,520
Speaker 1: a thing called the r i a a curve, you know,

327
00:20:01,119 --> 00:20:03,320
Speaker 1: So I have to invert the r i a a

328
00:20:03,480 --> 00:20:08,000
Speaker 1: curve in the equalization. Because the way that we handle

329
00:20:08,119 --> 00:20:11,040
Speaker 1: music now has almost nothing to do with the way

330
00:20:11,200 --> 00:20:13,159
Speaker 1: how we used to handle music in the nineteen thirties

331
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Speaker 1: through the fifties, because think about things like bass base

332
00:20:16,840 --> 00:20:19,439
Speaker 1: didn't exist back then, you know what I mean? Yeah,

333
00:20:19,720 --> 00:20:24,679
Speaker 1: and then um also, um, stereo, stereo didn't exist back then. Um,

334
00:20:24,720 --> 00:20:26,840
Speaker 1: there's all these little things that they had no way

335
00:20:26,880 --> 00:20:30,119
Speaker 1: of anticipating. And so um that that's why I I

336
00:20:30,280 --> 00:20:34,040
Speaker 1: specifically make mono lo fi records. That is my thing,

337
00:20:34,240 --> 00:20:37,800
Speaker 1: Like I don't with my machine. I could do hi fi.

338
00:20:38,040 --> 00:20:40,280
Speaker 1: I could do some stereo stuff if I wanted to,

339
00:20:40,320 --> 00:20:42,320
Speaker 1: but it's like no, no, no, no no. My goal

340
00:20:42,400 --> 00:20:45,720
Speaker 1: is to be as attainable as possible to everyone. So therefore,

341
00:20:45,880 --> 00:20:48,680
Speaker 1: like I want it to be simple. I wanted to

342
00:20:48,720 --> 00:20:51,240
Speaker 1: be direct. I wanted to be pure, you know. And

343
00:20:51,359 --> 00:20:54,840
Speaker 1: um so, so that's that's why my my records are

344
00:20:54,880 --> 00:20:59,200
Speaker 1: coming from a hundred year old machine that is creating

345
00:20:59,240 --> 00:21:02,159
Speaker 1: basically the same noises you could hear back then, but

346
00:21:02,280 --> 00:21:07,160
Speaker 1: just being forced through a modern a modern machine kind

347
00:21:07,160 --> 00:21:09,760
Speaker 1: of going through that hundred year old machine. And um

348
00:21:09,840 --> 00:21:11,760
Speaker 1: so yeah, then I I put the machine on lower

349
00:21:11,840 --> 00:21:15,000
Speaker 1: the arm, um, the cutting stylus. You can use a

350
00:21:15,000 --> 00:21:20,320
Speaker 1: lot of different gems basically, Um, I've used um, let's see,

351
00:21:20,359 --> 00:21:25,199
Speaker 1: what's there's so many you can use mostly I use ruby.

352
00:21:25,560 --> 00:21:27,880
Speaker 1: A ruby stylus works the best is it actually made

353
00:21:27,880 --> 00:21:31,640
Speaker 1: out of ruby. It's it's red, it's transparent, it's it's

354
00:21:31,640 --> 00:21:34,720
Speaker 1: a full blown ruby. Um, there's sapphire stylus is too.

355
00:21:34,720 --> 00:21:38,840
Speaker 1: That worked pretty well. Um, I thought gem was I didn't.

356
00:21:38,880 --> 00:21:40,920
Speaker 1: I didn't know. I didn't realize you meant actual gem.

357
00:21:40,960 --> 00:21:44,239
Speaker 1: I mean actual gem and uh. And then if I

358
00:21:44,240 --> 00:21:46,800
Speaker 1: if I was doing lathe cutting, let's go back to that. Um,

359
00:21:47,119 --> 00:21:49,960
Speaker 1: that field of mud and you're dragging your stick. Now,

360
00:21:50,040 --> 00:21:53,679
Speaker 1: pretend it's a stick, you have a shovel, and you

361
00:21:53,760 --> 00:21:56,840
Speaker 1: are actually removing the dirt and putting it somewhere else,

362
00:21:56,880 --> 00:22:00,000
Speaker 1: removing it, putting it somewhere else. Then you needed diamonds

363
00:22:00,000 --> 00:22:03,479
Speaker 1: stylus for that. And that's that's for the actual cutting.

364
00:22:03,520 --> 00:22:05,639
Speaker 1: And when you're cutting it, you'll actually see a ribbon

365
00:22:06,080 --> 00:22:08,080
Speaker 1: of the acetate because you also have to use acetate

366
00:22:08,119 --> 00:22:10,520
Speaker 1: if you're cutting, and you'll see it coming off. And

367
00:22:10,560 --> 00:22:15,000
Speaker 1: that is the most flammable substance I've ever encountered. Yes,

368
00:22:15,840 --> 00:22:18,560
Speaker 1: because I also have to treat my plastic right before

369
00:22:18,600 --> 00:22:20,359
Speaker 1: I cut. Um, you can do a lot of things.

370
00:22:20,359 --> 00:22:24,080
Speaker 1: You can do turtle wax, you can um me, personally,

371
00:22:24,119 --> 00:22:27,199
Speaker 1: I use light or fluid. I will take a just

372
00:22:27,240 --> 00:22:30,399
Speaker 1: standard barbecue light or fluid squirted on top with like

373
00:22:30,440 --> 00:22:33,159
Speaker 1: a little apothecary bottle, rub it into the plastic to

374
00:22:33,200 --> 00:22:35,000
Speaker 1: start it kind of softens it a little bit, makes

375
00:22:35,040 --> 00:22:37,959
Speaker 1: it a bit more malleable and uh. And that's then

376
00:22:38,040 --> 00:22:40,160
Speaker 1: I put on the needle, play the play the music

377
00:22:40,200 --> 00:22:44,440
Speaker 1: back in real time one x and that's vibrating my

378
00:22:44,440 --> 00:22:48,879
Speaker 1: my needle, my ruby stylus, and it moves across the record,

379
00:22:49,359 --> 00:22:52,960
Speaker 1: and then I put it down, pull it up, pop

380
00:22:52,960 --> 00:22:55,359
Speaker 1: it off. There we are, and so that the first

381
00:22:55,400 --> 00:22:59,960
Speaker 1: one you've just gotten alias is uh mix and you're

382
00:23:00,040 --> 00:23:03,040
Speaker 1: cutting the first the first side of the first record? Correct,

383
00:23:03,080 --> 00:23:05,960
Speaker 1: does that thing come out to be a coaster? Oh? Yeah, no,

384
00:23:06,080 --> 00:23:10,680
Speaker 1: the first I'm gonna say, on average, the first two

385
00:23:10,800 --> 00:23:15,359
Speaker 1: or three our coasters because because um it also has

386
00:23:15,400 --> 00:23:18,160
Speaker 1: a lot to do with actually making it sound good too,

387
00:23:18,240 --> 00:23:20,520
Speaker 1: because if you you can make it just come out

388
00:23:20,880 --> 00:23:25,560
Speaker 1: no problem the first time. But not only does every

389
00:23:25,600 --> 00:23:28,280
Speaker 1: machine have like its own kind of like quirks when

390
00:23:28,320 --> 00:23:30,600
Speaker 1: it comes to the machinery, it also has its own

391
00:23:30,640 --> 00:23:33,960
Speaker 1: quirks when it comes down to just like standard, how

392
00:23:34,000 --> 00:23:36,520
Speaker 1: does this sound. Does it sound good? You know, like

393
00:23:36,960 --> 00:23:41,000
Speaker 1: my machine, for example, I know that it's sibilants is

394
00:23:41,080 --> 00:23:43,720
Speaker 1: really hard, like right, I think about my graphic quializer

395
00:23:43,720 --> 00:23:45,760
Speaker 1: in my brain, like right here, I gotta turn this

396
00:23:45,800 --> 00:23:50,880
Speaker 1: down exactly. I'm right, okay exactly, and then um yeah,

397
00:23:50,880 --> 00:23:52,920
Speaker 1: and I I gotta roll off the low end I got.

398
00:23:53,040 --> 00:23:54,960
Speaker 1: There's this just like all these little things that like

399
00:23:55,040 --> 00:23:57,320
Speaker 1: I know my machine needs, and so I can try

400
00:23:57,359 --> 00:24:00,040
Speaker 1: to do those things in advance, but you're not to

401
00:24:00,160 --> 00:24:02,080
Speaker 1: know how it sounds until you cut one and listen

402
00:24:02,160 --> 00:24:04,800
Speaker 1: to it. No matter. So your process is like you

403
00:24:04,880 --> 00:24:07,240
Speaker 1: cut one and then you just you take it off

404
00:24:07,280 --> 00:24:09,600
Speaker 1: and you just sit there and listen to it. Yeah. Yeah,

405
00:24:09,800 --> 00:24:12,960
Speaker 1: Then you say a little less on the ten thousand,

406
00:24:13,240 --> 00:24:14,800
Speaker 1: roll off a little more base, and you just do

407
00:24:14,840 --> 00:24:17,960
Speaker 1: another one. You listen to it, and then once once

408
00:24:18,240 --> 00:24:20,080
Speaker 1: you're in a groove, do you keep listening to them

409
00:24:20,080 --> 00:24:22,720
Speaker 1: one at a time. So let's say I'm done. I

410
00:24:22,760 --> 00:24:25,200
Speaker 1: found like I'm happy with it. I'm like, okay, great,

411
00:24:25,240 --> 00:24:27,600
Speaker 1: I have I have this side. I am happy. This

412
00:24:27,680 --> 00:24:32,320
Speaker 1: is good. Here we go. Um, then I will cut

413
00:24:32,440 --> 00:24:35,399
Speaker 1: one more with those exact settings to make sure that

414
00:24:35,480 --> 00:24:38,280
Speaker 1: like all right, everything is perfectly still doing it again,

415
00:24:38,320 --> 00:24:39,840
Speaker 1: and so I've listened to two in a row. You

416
00:24:39,840 --> 00:24:43,120
Speaker 1: know it's been like, okay, this, this is replicatable. It's working.

417
00:24:43,600 --> 00:24:47,080
Speaker 1: Then I will usually go every few I'll check just

418
00:24:47,119 --> 00:24:49,800
Speaker 1: to make sure that it's still moving, moving forward and

419
00:24:49,840 --> 00:24:52,359
Speaker 1: moving well and nothing's getting in the way, and no

420
00:24:52,520 --> 00:24:55,159
Speaker 1: sound differentials have happened, because you know, this isn't playing

421
00:24:55,160 --> 00:24:58,119
Speaker 1: through a speaker. All I can hear is the subtle

422
00:24:58,200 --> 00:25:00,520
Speaker 1: vibration noises. It's kind of like when you listen to

423
00:25:00,560 --> 00:25:03,400
Speaker 1: a record player that isn't hooked up to speakers, where

424
00:25:03,440 --> 00:25:05,200
Speaker 1: you can still kind of like hear that song, but

425
00:25:05,280 --> 00:25:07,280
Speaker 1: it's just kind of a weird, tinny noise in the background.

426
00:25:07,600 --> 00:25:09,840
Speaker 1: That's more or less what my record machine sounds like

427
00:25:09,880 --> 00:25:16,040
Speaker 1: when it's cutting is just cardureuer harder. That's that's what

428
00:25:16,080 --> 00:25:18,000
Speaker 1: it sounds like. So you have to kind of like,

429
00:25:18,880 --> 00:25:21,280
Speaker 1: I just hope that that sound is actually making it

430
00:25:21,359 --> 00:25:23,480
Speaker 1: all the way through onto the onto the machine itself.

431
00:25:23,520 --> 00:25:25,440
Speaker 1: So yeah, still, every few records, I'll just do a

432
00:25:25,520 --> 00:25:29,480
Speaker 1: quick needle drop just to make sure it's still working. Check.

433
00:25:29,960 --> 00:25:31,800
Speaker 1: But but yeah, that these, Yeah, then I'll just do

434
00:25:31,800 --> 00:25:37,320
Speaker 1: that until the order is fulfilled and um usually like

435
00:25:37,320 --> 00:25:40,200
Speaker 1: like like, my whole thing is to be obtainable. That's

436
00:25:40,200 --> 00:25:43,919
Speaker 1: my whole goal is. I want literally every single person

437
00:25:44,000 --> 00:25:45,840
Speaker 1: who just makes music and wants to put it on

438
00:25:45,840 --> 00:25:47,359
Speaker 1: a record to do it. So that's why I like

439
00:25:47,600 --> 00:25:49,560
Speaker 1: my record label. We don't have any minimums. If someone

440
00:25:49,600 --> 00:25:52,359
Speaker 1: wants to contact me for one record, I got you.

441
00:25:52,320 --> 00:25:55,200
Speaker 1: You will we will do this, you know. And um,

442
00:25:55,520 --> 00:25:58,480
Speaker 1: So the point of doing that is I have to

443
00:25:58,520 --> 00:26:01,040
Speaker 1: make sure that all of my goal are aimed towards

444
00:26:01,119 --> 00:26:03,760
Speaker 1: keeping it as inexpensive as possible, not only for them,

445
00:26:03,760 --> 00:26:05,400
Speaker 1: but for me as well, because if I don't stay

446
00:26:05,400 --> 00:26:14,080
Speaker 1: in business, then they definitely don't get anything. So let's

447
00:26:14,080 --> 00:26:16,480
Speaker 1: say there's a B side, so I've cut the A side.

448
00:26:16,480 --> 00:26:18,680
Speaker 1: Do you sometimes do ones with just an A side? Yeah? Yeah,

449
00:26:18,720 --> 00:26:21,320
Speaker 1: sometimes a lot of artists. Oh well, actually, here I'll

450
00:26:21,359 --> 00:26:27,360
Speaker 1: hand you one. Here's one. Oops, there we go that one.

451
00:26:27,400 --> 00:26:30,240
Speaker 1: Here you can pull it out. That one's got a

452
00:26:30,359 --> 00:26:32,520
Speaker 1: engraving on one. So this is the actual right, I

453
00:26:32,520 --> 00:26:35,440
Speaker 1: thought this was just like, um, the cover or something. Wow,

454
00:26:35,440 --> 00:26:37,439
Speaker 1: that's so cool. So so yeah, that's got an etching

455
00:26:37,480 --> 00:26:40,880
Speaker 1: on one side of one man shaking another man's hand.

456
00:26:41,080 --> 00:26:43,800
Speaker 1: And it exploding because it came from I believe, an

457
00:26:43,840 --> 00:26:48,119
Speaker 1: old like gag catalog of like selling like you know,

458
00:26:48,200 --> 00:26:51,280
Speaker 1: novelty gags and whatnot. It's like traced out from a yeah, yeah,

459
00:26:51,320 --> 00:26:53,639
Speaker 1: traced out from a book. And um so what I

460
00:26:53,680 --> 00:26:56,359
Speaker 1: did is on one side is a song and on

461
00:26:56,400 --> 00:26:59,359
Speaker 1: the other side. And that's that's the thing too. I

462
00:26:59,400 --> 00:27:01,760
Speaker 1: had to just do this again and again and again.

463
00:27:01,800 --> 00:27:06,520
Speaker 1: I took a little um jewel engraver things and it

464
00:27:06,680 --> 00:27:09,280
Speaker 1: just had to draw that, you know, several times until

465
00:27:09,280 --> 00:27:13,040
Speaker 1: it was done. Um so that's one reason for Wait,

466
00:27:13,080 --> 00:27:15,720
Speaker 1: So you cut the record, you had the lathe cut

467
00:27:15,880 --> 00:27:20,199
Speaker 1: the music on one side, and then you by hand

468
00:27:20,400 --> 00:27:24,399
Speaker 1: did this illustration on how many records that one? It

469
00:27:24,480 --> 00:27:31,320
Speaker 1: was definitely in the tens. Um I'm gonna say less

470
00:27:31,320 --> 00:27:34,960
Speaker 1: than fifty, less than fifty, I'll say. And it's it's

471
00:27:35,080 --> 00:27:37,399
Speaker 1: this is a pretty involved like there's like here's a

472
00:27:37,400 --> 00:27:40,280
Speaker 1: couple more cross hatching on the tie and the guy,

473
00:27:40,440 --> 00:27:43,000
Speaker 1: and there's like it's a it's a full cartoon and

474
00:27:43,240 --> 00:27:46,159
Speaker 1: they there's multiple images. This this was a series. Oh

475
00:27:46,240 --> 00:27:49,880
Speaker 1: so so you did a different there were multiple versions

476
00:27:50,080 --> 00:27:53,679
Speaker 1: of each image, but there were also multiple images. So

477
00:27:53,720 --> 00:27:56,960
Speaker 1: this is what like a lady and some cella eating

478
00:27:57,000 --> 00:27:59,320
Speaker 1: some cello, or she's about to, but there's a fly

479
00:27:59,480 --> 00:28:02,000
Speaker 1: on it. I would assume this was an advertisement for

480
00:28:02,320 --> 00:28:05,040
Speaker 1: plastic flies to stick in people's food as a gag.

481
00:28:07,000 --> 00:28:09,240
Speaker 1: And so yeah, that's either mashed potatoes or ice cream.

482
00:28:09,240 --> 00:28:11,680
Speaker 1: I don't know what that could be. And then this

483
00:28:12,119 --> 00:28:15,240
Speaker 1: some like two hands holding cards some kind of trick deck.

484
00:28:15,480 --> 00:28:18,960
Speaker 1: Yes exactly, Oh my gosh. So so yeah, you're really involved.

485
00:28:19,000 --> 00:28:20,640
Speaker 1: Oh yeah, no, no, it's it's a lot of fun

486
00:28:20,720 --> 00:28:22,439
Speaker 1: and and that that's kind of the thing I like

487
00:28:22,480 --> 00:28:25,840
Speaker 1: about it too, is that I'm gonna make an analogy

488
00:28:25,880 --> 00:28:29,480
Speaker 1: for you. You're ready, okay, So back in like the

489
00:28:29,520 --> 00:28:34,040
Speaker 1: old days of um, let's go with art in general,

490
00:28:34,200 --> 00:28:38,680
Speaker 1: large art. Uh. People start off with like cave paintings, right,

491
00:28:38,760 --> 00:28:42,880
Speaker 1: and they're doing their cave painting things, and um, they're

492
00:28:42,920 --> 00:28:44,720
Speaker 1: doing what they can with what they know, and they're

493
00:28:44,760 --> 00:28:47,760
Speaker 1: they're painting their bison, and they're they're they're they're like

494
00:28:47,840 --> 00:28:50,680
Speaker 1: hunters and there's all all all that you've seen cave paintings.

495
00:28:50,800 --> 00:28:54,680
Speaker 1: You know, as they develop, they got closer and closer

496
00:28:54,720 --> 00:28:58,360
Speaker 1: to actually representing what they actually saw. Like the photo

497
00:28:58,440 --> 00:29:02,160
Speaker 1: realism Actually bad choice of words. There were no photos yet,

498
00:29:02,200 --> 00:29:03,719
Speaker 1: but you know what I mean, like the actual like

499
00:29:03,840 --> 00:29:07,320
Speaker 1: representation of what was in real life and what they

500
00:29:07,320 --> 00:29:09,000
Speaker 1: were creating. So when now we're up to like the

501
00:29:09,000 --> 00:29:12,920
Speaker 1: Renaissance naturalism, perhaps, yeah, exactly, It's like people could actually

502
00:29:13,040 --> 00:29:15,719
Speaker 1: paint what they saw now because they had acquired enough

503
00:29:15,760 --> 00:29:19,120
Speaker 1: skills over the age, point, perspective and all those techniques

504
00:29:19,840 --> 00:29:22,760
Speaker 1: and made them made them better and better artists. And

505
00:29:22,800 --> 00:29:26,680
Speaker 1: then the camera was invented, and that's when things got interesting,

506
00:29:26,800 --> 00:29:28,560
Speaker 1: you know what I mean, Because like as soon as

507
00:29:28,600 --> 00:29:31,040
Speaker 1: the camera was invented, that's when all of the best art,

508
00:29:31,080 --> 00:29:34,120
Speaker 1: in my opinion, started happening. That's when you've got got

509
00:29:34,160 --> 00:29:37,880
Speaker 1: you know, you know, uh, abstract expressionism, that's when you

510
00:29:37,920 --> 00:29:39,560
Speaker 1: got point is. Um, that's when you got all these

511
00:29:39,600 --> 00:29:44,320
Speaker 1: really cool things because you didn't need to be a

512
00:29:44,360 --> 00:29:48,360
Speaker 1: replicator of reality. We had that, so now painters got

513
00:29:48,400 --> 00:29:51,959
Speaker 1: to be whatever they wanted, unlocked everybody just so we're

514
00:29:51,960 --> 00:29:55,440
Speaker 1: all painted the giant canvas and things. Definitely. So so

515
00:29:55,560 --> 00:29:58,520
Speaker 1: I feel that way, um about the records. I do,

516
00:29:58,640 --> 00:30:00,920
Speaker 1: and obviously a very small way, but what I do

517
00:30:01,120 --> 00:30:04,360
Speaker 1: is like so artists will come to me, and they're like, wait, wait, wait,

518
00:30:04,360 --> 00:30:06,800
Speaker 1: why mono and why low Fi. I'm like, well, if

519
00:30:06,840 --> 00:30:10,360
Speaker 1: you want a perfect reproduction of your sound, you've got it.

520
00:30:10,440 --> 00:30:12,840
Speaker 1: You've got a wave file, You've got an MP three

521
00:30:13,120 --> 00:30:15,600
Speaker 1: that will never change. You've got it. Don't worry about it.

522
00:30:15,640 --> 00:30:17,800
Speaker 1: If if, if you want a perfect replication, we got

523
00:30:17,880 --> 00:30:20,240
Speaker 1: flak lossless all day, you and it and it will

524
00:30:20,240 --> 00:30:24,040
Speaker 1: never degrade. You're You're perfect. If you want something else,

525
00:30:25,440 --> 00:30:28,360
Speaker 1: I got you. I will make an etching onto a

526
00:30:28,440 --> 00:30:31,200
Speaker 1: thing of a lady with a fly in her mashed

527
00:30:31,200 --> 00:30:34,320
Speaker 1: potatoes and put it, put your song on the B side,

528
00:30:34,720 --> 00:30:38,240
Speaker 1: and it's it's it's mostly um. My main clients are

529
00:30:38,360 --> 00:30:42,240
Speaker 1: artists that are I don't want to say unpopular, because

530
00:30:42,240 --> 00:30:44,440
Speaker 1: I think most artists are unpopular, Like I think writ

531
00:30:44,600 --> 00:30:47,600
Speaker 1: large if we think about every single artist in every

532
00:30:47,600 --> 00:30:51,080
Speaker 1: single medium throughout the world, like what, maybe one percent

533
00:30:51,280 --> 00:30:56,280
Speaker 1: is popular from each each each genre, Yeah, stretching it exactly.

534
00:30:56,480 --> 00:30:59,480
Speaker 1: So so I really am for everyone else. And it's

535
00:30:59,480 --> 00:31:02,280
Speaker 1: funny because I don't know why people don't target that

536
00:31:02,320 --> 00:31:06,080
Speaker 1: demographic more because most of us are unpopular. Aim for

537
00:31:06,120 --> 00:31:10,120
Speaker 1: the unpopular, you know. So um yeah, my clients are

538
00:31:10,120 --> 00:31:13,080
Speaker 1: a d percent people who are like, wait, you're charging me,

539
00:31:13,520 --> 00:31:17,200
Speaker 1: I need three hundred minimum records in my order. Like,

540
00:31:17,240 --> 00:31:19,480
Speaker 1: I don't have three hundred fans. I can't do that.

541
00:31:20,240 --> 00:31:23,560
Speaker 1: Most of us don't have three hundred fans. That's silly.

542
00:31:23,600 --> 00:31:26,320
Speaker 1: So so that's my audience. My audience is people who

543
00:31:26,400 --> 00:31:29,320
Speaker 1: just they need twenty, they need fifty whatever, and then

544
00:31:29,320 --> 00:31:31,360
Speaker 1: they're going to sell them at their shows while they're touring,

545
00:31:31,480 --> 00:31:33,200
Speaker 1: they're they're going to a record show. They want to

546
00:31:33,200 --> 00:31:36,840
Speaker 1: do things. Actually, I have been getting quite a few, um,

547
00:31:37,200 --> 00:31:40,560
Speaker 1: very personalized records, which is really nice, Like um I've done.

548
00:31:41,000 --> 00:31:43,640
Speaker 1: People will like record their child's first words, like on

549
00:31:43,680 --> 00:31:46,520
Speaker 1: their iPhone, and so then they'll want something special to

550
00:31:46,560 --> 00:31:49,560
Speaker 1: remember that by, because obviously there's gonna their phone's gonna die,

551
00:31:49,600 --> 00:31:52,800
Speaker 1: their SIMCARDI get corrupted, and then that that memory is gone.

552
00:31:53,240 --> 00:31:55,160
Speaker 1: So they'll send me that file and be like, hey,

553
00:31:55,160 --> 00:31:58,760
Speaker 1: can you put my child's first words onto a record? Absolutely?

554
00:31:58,920 --> 00:32:01,640
Speaker 1: Why not? And why not do some really cool packaging

555
00:32:01,680 --> 00:32:03,840
Speaker 1: for it? So let's what's that one look like? The

556
00:32:03,880 --> 00:32:05,600
Speaker 1: first word? The person that sent you the first words?

557
00:32:05,600 --> 00:32:07,200
Speaker 1: What did that record look like? That one? I was

558
00:32:07,240 --> 00:32:10,160
Speaker 1: actually I love that one because um the guy I

559
00:32:10,200 --> 00:32:11,600
Speaker 1: was dealing with. I guess I won't give his name

560
00:32:11,600 --> 00:32:13,000
Speaker 1: just in case he wants it to be a secret.

561
00:32:13,040 --> 00:32:17,560
Speaker 1: But he is a fantastic artist. Um, before all this,

562
00:32:17,640 --> 00:32:20,040
Speaker 1: I don't want to confuse the whole world I came

563
00:32:20,040 --> 00:32:23,760
Speaker 1: into into this realm from um, the world of the

564
00:32:23,800 --> 00:32:27,000
Speaker 1: fine arts and animation, like that's where I've spent all

565
00:32:27,040 --> 00:32:30,080
Speaker 1: of my life. Yeah, it doesn't work so well in

566
00:32:30,120 --> 00:32:33,640
Speaker 1: the audio format, but these records are like incredibly I

567
00:32:33,640 --> 00:32:35,440
Speaker 1: can't believe they're done by hand. But yeah, yeah, I

568
00:32:35,440 --> 00:32:38,120
Speaker 1: know it took a long time. But but that's where

569
00:32:38,120 --> 00:32:39,480
Speaker 1: I come from. So I have a lot of friends

570
00:32:39,520 --> 00:32:42,080
Speaker 1: in the art world. So this this example I'm talking

571
00:32:42,080 --> 00:32:44,920
Speaker 1: about specifically a friend of mine. It was a gift

572
00:32:44,960 --> 00:32:49,120
Speaker 1: for his wife, and um, that good job. Yeah, and

573
00:32:49,120 --> 00:32:52,200
Speaker 1: I'm going to steal your head totally and so he Um,

574
00:32:52,920 --> 00:32:55,239
Speaker 1: he's already a great artist. So I was like, okay, here,

575
00:32:55,280 --> 00:32:57,920
Speaker 1: I'll decorate the disc for you and then you I'll

576
00:32:58,120 --> 00:33:00,000
Speaker 1: just send you a white blank sleeve so you can

577
00:33:00,000 --> 00:33:02,640
Speaker 1: decorate the outside. And so, um, I think I've got

578
00:33:02,640 --> 00:33:06,400
Speaker 1: one around here somewhere. I did just a simple stamp set. Oh,

579
00:33:06,440 --> 00:33:09,840
Speaker 1: here we go, Here we go. Um, one of our coworkers,

580
00:33:10,320 --> 00:33:14,000
Speaker 1: Andrew Howard. Isn't that band, Oh Spooky Booty and the

581
00:33:14,080 --> 00:33:18,120
Speaker 1: Tombstone goofs? Yes, I can believe that Andrews in that baby.

582
00:33:18,640 --> 00:33:21,040
Speaker 1: I'm sure it's great. So I did something kind of

583
00:33:21,040 --> 00:33:23,680
Speaker 1: similar to that for that one, which is just like handstamped,

584
00:33:23,760 --> 00:33:26,320
Speaker 1: real low fi, just just looking real simple. It kind

585
00:33:26,320 --> 00:33:28,680
Speaker 1: of looks like maybe you know a kid did it

586
00:33:28,920 --> 00:33:32,160
Speaker 1: in you know, in class or in their church Sunday

587
00:33:32,160 --> 00:33:36,480
Speaker 1: school Project's smeared a little bit, the wise smeared and Booty?

588
00:33:36,600 --> 00:33:38,760
Speaker 1: Can we play a little bit of this one? Um?

589
00:33:38,920 --> 00:33:41,120
Speaker 1: I don't know, I don't know, just play it. I'll

590
00:33:41,120 --> 00:33:43,200
Speaker 1: cut it out. I'm just hear a little bit. Andrew's band?

591
00:33:43,280 --> 00:33:45,400
Speaker 1: Is this new? No? No, this is really this is

592
00:33:45,400 --> 00:33:48,920
Speaker 1: really old and and and. In fact, let's make sure

593
00:33:49,600 --> 00:33:52,080
Speaker 1: this may not even be what we think it is.

594
00:33:52,280 --> 00:33:54,680
Speaker 1: Because one of the things I do often is, um,

595
00:33:54,960 --> 00:33:58,560
Speaker 1: let's say I'm making records for someone, right, Um, I

596
00:33:59,120 --> 00:34:01,880
Speaker 1: make twenty six x that way, if one gets broken

597
00:34:01,960 --> 00:34:04,320
Speaker 1: or corrupted or something, then I was like, phoop, I

598
00:34:04,320 --> 00:34:05,960
Speaker 1: don't have to start all over again. I can just

599
00:34:06,000 --> 00:34:08,280
Speaker 1: give them that extra one and I'll keep the garbage

600
00:34:08,280 --> 00:34:11,279
Speaker 1: one for myself. This might be a garbage one. Okay,

601
00:34:11,040 --> 00:34:12,960
Speaker 1: I kind of hope. I kind of would love to

602
00:34:13,000 --> 00:34:15,480
Speaker 1: hear what the coasters sound like. I was glad that

603
00:34:15,480 --> 00:34:18,680
Speaker 1: we actually got um what was it um that skip?

604
00:34:18,760 --> 00:34:20,440
Speaker 1: When we played the first time we got that one,

605
00:34:20,800 --> 00:34:24,040
Speaker 1: I think we both went like, oh, yeah, it was good.

606
00:34:24,360 --> 00:34:29,680
Speaker 1: So let's see what we got. This one might be

607
00:34:29,719 --> 00:34:44,920
Speaker 1: a coaster. Oh that's great though, that's Andrew Howard. Everybody.

608
00:34:46,600 --> 00:34:59,880
Speaker 1: Let's see what else we got here. Oh, this one

609
00:35:00,040 --> 00:35:06,239
Speaker 1: definitely a coaster. But I know who this is. Yeah,

610
00:35:06,239 --> 00:35:11,560
Speaker 1: this is an artist named Phantom Manner. Oh yeah, it's grooving.

611
00:35:13,600 --> 00:35:15,720
Speaker 1: But yeah, this is a total garbage version. It seems

612
00:35:15,760 --> 00:35:21,920
Speaker 1: like the Outfit virus kind of Oh yeah, fascinating, fascinating.

613
00:35:22,360 --> 00:35:26,799
Speaker 1: You're looked through some more of these records? What else?

614
00:35:26,800 --> 00:35:29,240
Speaker 1: What else? What else is? I'll hand you a bunch.

615
00:35:31,920 --> 00:35:34,200
Speaker 1: I know, it's a little hard to summarize because there's

616
00:35:34,280 --> 00:35:38,680
Speaker 1: just like, like, so, this is nit and a lot

617
00:35:38,719 --> 00:35:41,600
Speaker 1: of these are square. These are so what give me

618
00:35:41,640 --> 00:35:44,440
Speaker 1: the specs of this of this? So that is a

619
00:35:44,520 --> 00:35:47,799
Speaker 1: seven inch record. It's seven inches square, and I like

620
00:35:47,920 --> 00:35:51,360
Speaker 1: the square because it holds the shape of the packaging.

621
00:35:51,400 --> 00:35:53,520
Speaker 1: A lot better. So, for example, the one year looking

622
00:35:53,520 --> 00:35:57,239
Speaker 1: at right now, that is a nit record sleeve. And

623
00:35:57,400 --> 00:36:01,960
Speaker 1: so because of that, um like, if you just put

624
00:36:02,000 --> 00:36:05,120
Speaker 1: a circle inside that exact same packaging, it would have

625
00:36:05,160 --> 00:36:08,920
Speaker 1: like these floppy edges, you know. So the the alternative

626
00:36:08,960 --> 00:36:15,160
Speaker 1: to that actually went to hand it to you. You

627
00:36:15,160 --> 00:36:19,279
Speaker 1: could use this as a potholder afterwards, afterwards, but just

628
00:36:19,320 --> 00:36:22,239
Speaker 1: while you're playing the record. I guess. So here you've

629
00:36:22,239 --> 00:36:25,879
Speaker 1: got like a knit twelve inch twelve inch, and so

630
00:36:26,200 --> 00:36:28,960
Speaker 1: twelve inches have to be circular exactly, or else they

631
00:36:29,000 --> 00:36:31,960
Speaker 1: won't fit on a standard record player. But um so

632
00:36:32,040 --> 00:36:35,040
Speaker 1: in that case, I was able to get a little

633
00:36:35,040 --> 00:36:37,640
Speaker 1: interior sleeve to make sure I hold you know, the

634
00:36:37,719 --> 00:36:40,799
Speaker 1: shape of the actual knit thing of a jigs like

635
00:36:40,800 --> 00:36:43,640
Speaker 1: what you would have in a in a normal uh

636
00:36:43,640 --> 00:36:48,319
Speaker 1: thirty three exactly. That's sort of yeah paper insert that

637
00:36:48,360 --> 00:36:51,680
Speaker 1: goes inside of the record sleeve. Yeah. And so yeah,

638
00:36:51,680 --> 00:36:54,160
Speaker 1: the the knit sleeves or something I do simply because

639
00:36:54,200 --> 00:36:57,520
Speaker 1: I like to knit. So that's just something I do.

640
00:36:57,640 --> 00:37:00,319
Speaker 1: And so how do you find to all these things?

641
00:37:00,400 --> 00:37:03,399
Speaker 1: I don't know. I I love to make things and

642
00:37:03,480 --> 00:37:07,320
Speaker 1: I love to stay busy. So um yeah, the the

643
00:37:07,400 --> 00:37:10,360
Speaker 1: knit album sleeves are really fun because do you remember

644
00:37:10,400 --> 00:37:13,000
Speaker 1: that Wou Tang album a while ago? Um it was

645
00:37:13,040 --> 00:37:15,080
Speaker 1: this one for a while ago. Where do you remember

646
00:37:15,120 --> 00:37:19,200
Speaker 1: a guy named Martin Screlly, huge jerk. He like yeah,

647
00:37:19,360 --> 00:37:21,400
Speaker 1: he like played up all the heat come up in

648
00:37:21,480 --> 00:37:24,879
Speaker 1: this here's how, here's how. So a long time ago,

649
00:37:24,920 --> 00:37:28,879
Speaker 1: I'm gonna say, um, I'm gonna say five to six

650
00:37:28,960 --> 00:37:31,200
Speaker 1: years ago, maybe maybe even longer than that. At this point,

651
00:37:31,600 --> 00:37:35,600
Speaker 1: there was um a Wu Tang Clan album called Once

652
00:37:35,680 --> 00:37:38,120
Speaker 1: upon a Time in Shaolin that they made one and

653
00:37:38,280 --> 00:37:41,759
Speaker 1: only one copy of period, And so they made this

654
00:37:41,800 --> 00:37:43,279
Speaker 1: they put it out into the world and they're like, hey,

655
00:37:43,320 --> 00:37:45,360
Speaker 1: whoever wants to buy this, then they get to do

656
00:37:45,400 --> 00:37:48,439
Speaker 1: whatever they want with it. Unfortunately, the person that bought

657
00:37:48,440 --> 00:37:51,160
Speaker 1: that album was Martin Screlly. That's what I do remember

658
00:37:51,239 --> 00:37:53,920
Speaker 1: this story. Yes, and so he paid an obscene amount

659
00:37:53,920 --> 00:37:55,480
Speaker 1: of money for it. He's the one and only owner.

660
00:37:55,520 --> 00:37:57,160
Speaker 1: Then he got sent to jail for being a jerk,

661
00:37:57,520 --> 00:38:04,640
Speaker 1: and he drastically and layd the price on AIDS medication. Yes, scumbag. Absolutely,

662
00:38:04,640 --> 00:38:06,359
Speaker 1: we don't even need to throw an allegedly in there.

663
00:38:06,680 --> 00:38:10,160
Speaker 1: He is a scumbag and um so yeah, now that

664
00:38:10,239 --> 00:38:12,200
Speaker 1: album is out there in limbo. But anyway, that that

665
00:38:12,200 --> 00:38:15,480
Speaker 1: that example I only bring up because I love making

666
00:38:15,560 --> 00:38:18,160
Speaker 1: one of a kind records, and those knit ones are

667
00:38:18,200 --> 00:38:21,720
Speaker 1: that that like, because I mean, I'll be completely honest

668
00:38:21,760 --> 00:38:24,040
Speaker 1: with you, that that little one, the little seven inch

669
00:38:24,120 --> 00:38:27,640
Speaker 1: knit album, that one is forty hours to just knit

670
00:38:27,719 --> 00:38:31,520
Speaker 1: that sleeve. And so because of that, people don't want

671
00:38:31,560 --> 00:38:33,040
Speaker 1: to pay for that, you know what I mean, Like

672
00:38:33,239 --> 00:38:36,919
Speaker 1: people will buy like one copy tops and and then

673
00:38:36,960 --> 00:38:38,320
Speaker 1: that is kind of the fun of it. Like I

674
00:38:38,520 --> 00:38:41,400
Speaker 1: do these things, probably at least on a quarterly basis,

675
00:38:41,440 --> 00:38:43,400
Speaker 1: called the Haunted Birthday Mystery Record. Oh, I guess I

676
00:38:43,400 --> 00:38:46,520
Speaker 1: haven't said the name of my company. It's Haunted Birthday Records.

677
00:38:47,280 --> 00:38:50,120
Speaker 1: So the Haunted Birthday Mystery Record I make once per

678
00:38:50,200 --> 00:38:53,440
Speaker 1: quarter and I contact some artist and I'm like, hey,

679
00:38:53,560 --> 00:38:55,719
Speaker 1: I'm gonna put out one and only one copy of

680
00:38:55,719 --> 00:38:58,000
Speaker 1: this album. Ever do you want to contribute to it?

681
00:38:58,239 --> 00:39:00,640
Speaker 1: And artists love to do that, and it's like compilation

682
00:39:00,719 --> 00:39:03,400
Speaker 1: with people on your on your label or pretty much

683
00:39:03,400 --> 00:39:06,000
Speaker 1: anyone anyone I can contact because I don't tell anyone

684
00:39:06,000 --> 00:39:09,320
Speaker 1: who's on it. I don't tell them. I don't I

685
00:39:10,239 --> 00:39:13,520
Speaker 1: honestly mostly give them away. Sometimes I'll sell them, sometimes

686
00:39:13,760 --> 00:39:15,799
Speaker 1: I'll hide them places. You know, there's a thing in

687
00:39:15,920 --> 00:39:18,799
Speaker 1: um in Atlanta, the free Art Fridays thing I've I've

688
00:39:18,800 --> 00:39:21,520
Speaker 1: given them aways for free art Fridays before, and yeah,

689
00:39:21,520 --> 00:39:25,000
Speaker 1: it's just a it's just a complete mystery. I will

690
00:39:25,040 --> 00:39:28,160
Speaker 1: never tell someone who's on it, like there there could

691
00:39:28,200 --> 00:39:30,799
Speaker 1: be just like I'm gonna jump to an extreme to

692
00:39:30,880 --> 00:39:33,280
Speaker 1: prove a point, but there could be a Beyonce single

693
00:39:33,320 --> 00:39:35,920
Speaker 1: that no one's ever heard on one of my Haunted

694
00:39:35,920 --> 00:39:38,440
Speaker 1: Birthday Mystery records. And that's just the way it is.

695
00:39:38,520 --> 00:39:41,080
Speaker 1: And I never say a single on one of your

696
00:39:41,280 --> 00:39:45,960
Speaker 1: I can't tell you. But but that's kind of the

697
00:39:45,960 --> 00:39:48,319
Speaker 1: fun of it is that it could be anyone, and

698
00:39:48,440 --> 00:39:51,719
Speaker 1: I really enjoy doing that. That's something I do probably quarterly,

699
00:39:51,840 --> 00:39:54,160
Speaker 1: which is, you know, just just for kicks. And that's

700
00:39:54,200 --> 00:39:56,280
Speaker 1: That's the other thing that I love about this style

701
00:39:56,400 --> 00:39:59,840
Speaker 1: of record making is that the buy in and this

702
00:40:00,040 --> 00:40:02,400
Speaker 1: stakes are so low that you can just do art

703
00:40:02,440 --> 00:40:04,799
Speaker 1: for art's sake and have fun and make dumb things

704
00:40:04,880 --> 00:40:07,080
Speaker 1: and put them out into the world because who cares.

705
00:40:07,440 --> 00:40:09,680
Speaker 1: You know, if I had to make three hundred copies

706
00:40:09,960 --> 00:40:12,440
Speaker 1: of a mystery record, then like I would put some

707
00:40:12,480 --> 00:40:15,640
Speaker 1: time and energy because it's an investment of resources and

708
00:40:15,719 --> 00:40:18,439
Speaker 1: money to actually put out these three things in the world.

709
00:40:18,480 --> 00:40:19,920
Speaker 1: I need to make sure there's enough of an audience

710
00:40:19,960 --> 00:40:21,239
Speaker 1: for it. I need to make sure that it like

711
00:40:21,640 --> 00:40:24,439
Speaker 1: appeals to enough people to make sure I'm blah blah

712
00:40:24,480 --> 00:40:27,920
Speaker 1: blah blah blah. If I'm only making one copy, it

713
00:40:27,920 --> 00:40:31,200
Speaker 1: could literally just be farts for like, you know, five

714
00:40:31,280 --> 00:40:34,879
Speaker 1: minutes on each side, and who cares? Have you done

715
00:40:34,880 --> 00:40:38,919
Speaker 1: any like sort of large runs, longer runs of which

716
00:40:39,160 --> 00:40:41,879
Speaker 1: whis maybe the biggest one that you've done, um, I'd say,

717
00:40:42,120 --> 00:40:45,280
Speaker 1: or in the in the hundreds. Once people reach three hundred,

718
00:40:45,360 --> 00:40:46,960
Speaker 1: that's when I tell them, I'm like, hey, I'm very

719
00:40:47,000 --> 00:40:50,439
Speaker 1: willing to do this for you, but since you're making

720
00:40:50,480 --> 00:40:52,759
Speaker 1: this many, you can just contact a regular It's going

721
00:40:52,800 --> 00:40:56,080
Speaker 1: to be cost effective at that point exactly breakthrough and

722
00:40:56,080 --> 00:40:58,520
Speaker 1: also and also time effective too because you have to

723
00:40:58,520 --> 00:41:01,239
Speaker 1: go and still do everything go one one at a time.

724
00:41:01,800 --> 00:41:03,520
Speaker 1: So so so yeah, I would say the biggest orders I've

725
00:41:03,560 --> 00:41:06,879
Speaker 1: ever done have been in the hundreds, and then like, yeah,

726
00:41:06,920 --> 00:41:09,000
Speaker 1: what Once people ask me to do like a five

727
00:41:09,440 --> 00:41:12,000
Speaker 1: run for them, I'm like, are you sure? Here's here's

728
00:41:12,000 --> 00:41:14,200
Speaker 1: what I would recommend. But I can do this if

729
00:41:14,239 --> 00:41:17,040
Speaker 1: you want me to do your discs, so I call

730
00:41:17,080 --> 00:41:19,280
Speaker 1: them discs, but they're not necessarily disc Do your records?

731
00:41:19,280 --> 00:41:21,920
Speaker 1: Are they all playback at the same speed? Or they

732
00:41:21,920 --> 00:41:24,279
Speaker 1: all seventy eight or thirty threes? Or I can do

733
00:41:24,360 --> 00:41:26,759
Speaker 1: I can do it for three different speeds. I I

734
00:41:26,760 --> 00:41:30,480
Speaker 1: can do thirty threes, forty five, and seventy eight. Um,

735
00:41:30,560 --> 00:41:33,000
Speaker 1: but I usually do thirty three and a third simply

736
00:41:33,040 --> 00:41:35,319
Speaker 1: because I want to fit as much content onto each

737
00:41:35,360 --> 00:41:38,239
Speaker 1: record as possible. But yeah, I can, I can. I

738
00:41:38,239 --> 00:41:41,200
Speaker 1: can do any of them. Why don't you play something else?

739
00:41:41,200 --> 00:41:44,120
Speaker 1: Give me another? Give me another example of something? Here?

740
00:41:44,800 --> 00:41:47,040
Speaker 1: Do you want to do? You want to hear some uh,

741
00:41:47,200 --> 00:41:50,600
Speaker 1: let's see some local like a local electronic artist. Or

742
00:41:50,640 --> 00:41:56,360
Speaker 1: you want to hear a California punk band California punk uh,

743
00:41:56,600 --> 00:42:01,399
Speaker 1: local electronics? This both sound good? Play a yeah? UM?

744
00:42:01,440 --> 00:42:06,440
Speaker 1: So here I'll start with local artists. This is a

745
00:42:06,520 --> 00:42:10,320
Speaker 1: woman named Puma Shock. She is absolutely one of my

746
00:42:10,320 --> 00:42:14,600
Speaker 1: favorite musicians. Um. She has this amazing project that she's

747
00:42:14,600 --> 00:42:17,719
Speaker 1: working on right now called high Score. And what it

748
00:42:17,800 --> 00:42:21,799
Speaker 1: is is that she takes um a video game and

749
00:42:21,840 --> 00:42:24,839
Speaker 1: she plays it on mute, okay, and then she imagined

750
00:42:24,920 --> 00:42:27,280
Speaker 1: she plays it like she's got the controller. Yes, okay,

751
00:42:27,400 --> 00:42:29,000
Speaker 1: And so she's playing the video game on mute, and

752
00:42:29,040 --> 00:42:32,880
Speaker 1: she imagines what she thinks that game sounds like, and

753
00:42:32,960 --> 00:42:36,720
Speaker 1: so then she will write the music and basically replace

754
00:42:36,800 --> 00:42:40,080
Speaker 1: it in her mind. So I have that here. This

755
00:42:40,120 --> 00:42:42,000
Speaker 1: is from a this is from a video game called

756
00:42:42,040 --> 00:42:44,799
Speaker 1: Golf Story, and this is this is what Puma Shock

757
00:42:44,920 --> 00:42:47,399
Speaker 1: thinks that music would have sounded like if she would

758
00:42:47,400 --> 00:45:56,359
Speaker 1: have unmuted her television. Yeah to Puma Shock, hire her

759
00:45:56,480 --> 00:46:01,000
Speaker 1: for your next video game composition project. This fantastic. Isn't

760
00:46:01,000 --> 00:46:03,640
Speaker 1: that great? No, she she's fantastic both as a human

761
00:46:03,640 --> 00:46:06,320
Speaker 1: being and as a musician and as Yeah, that second

762
00:46:06,360 --> 00:46:08,799
Speaker 1: track was called Hungry Hearts Diner. So that was the

763
00:46:08,840 --> 00:46:10,799
Speaker 1: second game that was on that one where. Yeah, so

764
00:46:11,239 --> 00:46:13,840
Speaker 1: Golf Story and then Hungry Heart Steiner. I have to

765
00:46:13,920 --> 00:46:16,840
Speaker 1: imagine that that music was way more fantastic than the

766
00:46:16,920 --> 00:46:19,480
Speaker 1: music that was in the Gulf. Yeah, I mean, I

767
00:46:19,480 --> 00:46:21,640
Speaker 1: don't know really, but golf doesn't really strike me as

768
00:46:21,680 --> 00:46:25,839
Speaker 1: having necessarily all that evocative of music. You're you're dead right,

769
00:46:25,920 --> 00:46:28,719
Speaker 1: and and that's that that to me is the fun

770
00:46:28,760 --> 00:46:32,799
Speaker 1: of this too, is like anything you want, just do it,

771
00:46:33,120 --> 00:46:35,319
Speaker 1: just do it. You know, I love it. I love it.

772
00:46:35,320 --> 00:46:37,040
Speaker 1: It's so much fun. But we were saying, well, the

773
00:46:37,120 --> 00:46:39,240
Speaker 1: music was playing, I was well, I was thinking about

774
00:46:39,440 --> 00:46:42,880
Speaker 1: the difference between I think about this a bit in

775
00:46:42,920 --> 00:46:46,480
Speaker 1: my own life, the difference between listening to a record

776
00:46:46,920 --> 00:46:49,879
Speaker 1: or what it was like when really that was what

777
00:46:49,920 --> 00:46:52,600
Speaker 1: there was to listen to. You know, I grew up

778
00:46:52,640 --> 00:46:55,279
Speaker 1: in a in the air where there was CDs, you know,

779
00:46:55,280 --> 00:46:57,439
Speaker 1: my first music and CDs and some stuff on tape

780
00:46:57,480 --> 00:47:00,360
Speaker 1: cassette too, like I had a walkman when I was

781
00:47:00,400 --> 00:47:03,040
Speaker 1: a little kid, you know, And obviously now have a

782
00:47:03,080 --> 00:47:05,720
Speaker 1: tremendous amount of digital things that I can just click

783
00:47:05,760 --> 00:47:09,560
Speaker 1: on and you know, come instantly to my ears. Uh,

784
00:47:09,719 --> 00:47:11,160
Speaker 1: plenty of other things that I have to scround for

785
00:47:11,200 --> 00:47:13,920
Speaker 1: it too. So but you know, I was listen. We

786
00:47:13,920 --> 00:47:18,080
Speaker 1: were listening to what some old long, pain fluid songs together,

787
00:47:18,160 --> 00:47:22,560
Speaker 1: my wife and I and just like, you know, don't

788
00:47:22,600 --> 00:47:25,600
Speaker 1: skip to the next track, just listen to the whole side,

789
00:47:25,880 --> 00:47:27,680
Speaker 1: and then when it's done, you gotta walk over and

790
00:47:27,719 --> 00:47:33,920
Speaker 1: flip it over. Just the experience of it listening to

791
00:47:34,000 --> 00:47:36,439
Speaker 1: it is is different I guess I think a big

792
00:47:36,440 --> 00:47:38,840
Speaker 1: part of it is there is a feeling of commitment.

793
00:47:39,160 --> 00:47:42,760
Speaker 1: It's you saying, I'm intentionally doing this. I am setting

794
00:47:42,760 --> 00:47:45,839
Speaker 1: aside some time, I am physically standing up, I am

795
00:47:45,880 --> 00:47:49,600
Speaker 1: moving this, I am dedicating my energy to this, And

796
00:47:50,000 --> 00:47:52,080
Speaker 1: like you said, it makes it harder to skip, it

797
00:47:52,120 --> 00:47:54,760
Speaker 1: makes it harder to ignore, you know. And I actually

798
00:47:54,760 --> 00:47:57,960
Speaker 1: I feel that way about streaming music in general. I mean,

799
00:47:58,080 --> 00:48:00,760
Speaker 1: I'm by no means putting it down. Anyone who extreme music.

800
00:48:00,840 --> 00:48:03,719
Speaker 1: I know it is the main format for everyone these days,

801
00:48:04,160 --> 00:48:07,480
Speaker 1: but personally, I've never liked streaming music because it feels

802
00:48:07,719 --> 00:48:11,520
Speaker 1: too disposable for me to give it enough attention. So

803
00:48:11,600 --> 00:48:13,440
Speaker 1: if I go to a store and I buy a record,

804
00:48:13,640 --> 00:48:17,000
Speaker 1: I know that I have paid for this, I'm bringing

805
00:48:17,000 --> 00:48:19,200
Speaker 1: it home, I'm putting it down on a record player,

806
00:48:19,280 --> 00:48:22,920
Speaker 1: I'm playing it, and I give it that amount of attention.

807
00:48:23,040 --> 00:48:25,839
Speaker 1: You know. I've I've had to make decisions. I've had

808
00:48:25,880 --> 00:48:28,040
Speaker 1: to decide what record I wanted to buy. I've had

809
00:48:28,080 --> 00:48:30,680
Speaker 1: to And when I say record, I also mean CDs.

810
00:48:30,680 --> 00:48:33,919
Speaker 1: I still buy CDs all the time too, And there's

811
00:48:33,960 --> 00:48:37,399
Speaker 1: a commitment there that makes me give it as much

812
00:48:37,400 --> 00:48:40,960
Speaker 1: attention and as much I guess dedication as it requires

813
00:48:40,960 --> 00:48:44,520
Speaker 1: of me, as compared with when I stream something, it

814
00:48:44,600 --> 00:48:47,040
Speaker 1: just kind of happens at me. And whether I do

815
00:48:47,120 --> 00:48:49,080
Speaker 1: anything or not, it's just going to keep going or

816
00:48:49,120 --> 00:48:54,840
Speaker 1: stopping or whatever. It means nothing, just dip into that continuum. Yeah,

817
00:48:54,880 --> 00:48:57,440
Speaker 1: and which is fine. I'm not putting it down. I

818
00:48:57,480 --> 00:48:59,800
Speaker 1: just know that for me personally, I pay more attention

819
00:48:59,840 --> 00:49:02,480
Speaker 1: to an album and to music in general, if I've

820
00:49:02,520 --> 00:49:05,279
Speaker 1: made any kind of small commitment to it, any kind

821
00:49:05,480 --> 00:49:07,560
Speaker 1: you know, if I've just bought in a little bit,

822
00:49:08,080 --> 00:49:13,760
Speaker 1: I'm paying attention. That relationship that we have with media

823
00:49:13,840 --> 00:49:16,240
Speaker 1: I think has changed a lot in really the last

824
00:49:16,520 --> 00:49:21,560
Speaker 1: ten years or so. I mean, Netflix, Spotify, the other

825
00:49:21,600 --> 00:49:24,320
Speaker 1: ones exactly the other one. But like in the early

826
00:49:24,400 --> 00:49:26,759
Speaker 1: days of digital music or you know, when when the

827
00:49:26,760 --> 00:49:29,680
Speaker 1: EMP three first came around the iPod, it was still

828
00:49:29,719 --> 00:49:35,839
Speaker 1: about um having keeping archiving, you know, I own this thing.

829
00:49:36,800 --> 00:49:40,279
Speaker 1: And now it's much more like, oh, I pay a

830
00:49:40,360 --> 00:49:42,880
Speaker 1: service for you know, I pay a fee for this

831
00:49:43,000 --> 00:49:47,080
Speaker 1: service to maintain my music collection for me. And I

832
00:49:47,080 --> 00:49:48,880
Speaker 1: don't like it. It doesn't like it. Don't like it

833
00:49:48,920 --> 00:49:50,840
Speaker 1: at all. And let me tell you what one of

834
00:49:50,880 --> 00:49:53,960
Speaker 1: the pros of that is for me is that I

835
00:49:54,600 --> 00:49:57,279
Speaker 1: have a kind of big personal library at home of

836
00:49:57,440 --> 00:49:59,960
Speaker 1: all kinds of things that I some of which I've

837
00:50:00,080 --> 00:50:02,640
Speaker 1: will never ever part with, in some of which I

838
00:50:02,640 --> 00:50:04,759
Speaker 1: don't know what to do with, but I can't part with,

839
00:50:04,960 --> 00:50:10,120
Speaker 1: you know, tapes, films, videos, things that are family historically significant,

840
00:50:10,120 --> 00:50:12,480
Speaker 1: things that I just haven't had the time to go through. Um,

841
00:50:12,520 --> 00:50:15,640
Speaker 1: I just got rid of every CD I owned. I've

842
00:50:15,719 --> 00:50:17,680
Speaker 1: kept all my tapes, I kept all of my There's

843
00:50:17,719 --> 00:50:19,400
Speaker 1: two CDs that are on my desk right now that

844
00:50:19,440 --> 00:50:21,360
Speaker 1: I don't know are in any other format, Like, I

845
00:50:21,400 --> 00:50:23,799
Speaker 1: don't know if they're online. Um, I could rip them

846
00:50:23,800 --> 00:50:25,640
Speaker 1: and then have them in a but I but you

847
00:50:25,640 --> 00:50:26,880
Speaker 1: have to maintain that file, so I have to know

848
00:50:26,880 --> 00:50:29,359
Speaker 1: where the file lives, as opposed to if it's on like.

849
00:50:30,440 --> 00:50:33,480
Speaker 1: But Spotify surely doesn't have everything. And the thing that

850
00:50:33,520 --> 00:50:36,120
Speaker 1: I hate most about Spotify is that it's in flux,

851
00:50:36,640 --> 00:50:39,520
Speaker 1: that that that you may not notice it. But there

852
00:50:39,560 --> 00:50:41,680
Speaker 1: are albums that you'll listen to one week and then

853
00:50:41,719 --> 00:50:43,160
Speaker 1: the next week you go back to listen to again

854
00:50:43,160 --> 00:50:45,879
Speaker 1: and it's gone. Right. They're working out that licensing, I'm

855
00:50:45,880 --> 00:50:47,799
Speaker 1: sure it's very complicated for the people that are in

856
00:50:47,800 --> 00:50:51,200
Speaker 1: the legal department at Spotify. Absolutely, And so that's that's

857
00:50:51,200 --> 00:50:53,040
Speaker 1: one of the saddest things to me. Like, I'll give

858
00:50:53,040 --> 00:50:56,160
Speaker 1: you a perfect example. That is a movie based which

859
00:50:56,239 --> 00:51:01,360
Speaker 1: is uh Peewee's Big Holiday. See that movie? Gosh, I

860
00:51:01,400 --> 00:51:03,760
Speaker 1: wanted to say yes immediately, but I can't remember anything

861
00:51:03,800 --> 00:51:06,200
Speaker 1: about it. Um, that's this one where he is going

862
00:51:06,239 --> 00:51:10,239
Speaker 1: to Joe Magnanello's birthday. Yes, yes, I watched it. I

863
00:51:10,320 --> 00:51:12,120
Speaker 1: watched it shortly after it came out. And he loves

864
00:51:12,120 --> 00:51:14,640
Speaker 1: like rupier, barrel candy in it a lot and all

865
00:51:14,760 --> 00:51:17,200
Speaker 1: all that. Anyway, there there's a lot of distinct in

866
00:51:17,239 --> 00:51:19,960
Speaker 1: my memory. Is the original one from the eighties, Oh, definitely,

867
00:51:19,960 --> 00:51:22,560
Speaker 1: that one is King of the Crop. That one's amazing.

868
00:51:22,719 --> 00:51:24,960
Speaker 1: But I love that new one just because I love

869
00:51:25,000 --> 00:51:27,880
Speaker 1: Paul Rubens. Was very It was very good. And the

870
00:51:27,960 --> 00:51:31,880
Speaker 1: thing about it is is, yes, I've had a Netflix, um,

871
00:51:31,880 --> 00:51:34,279
Speaker 1: you know, account for who knows how long. It's got

872
00:51:34,280 --> 00:51:36,000
Speaker 1: to be like close to a decade at this point,

873
00:51:36,120 --> 00:51:39,160
Speaker 1: you know. But what if I don't someday, what if

874
00:51:39,160 --> 00:51:41,040
Speaker 1: they decide they want to take that movie off there,

875
00:51:41,360 --> 00:51:44,280
Speaker 1: then I can't watch this movie. I love why because

876
00:51:44,320 --> 00:51:46,799
Speaker 1: they say so. And in the old days we're talking

877
00:51:46,840 --> 00:51:49,640
Speaker 1: pre VHS days, that was the way it was, and

878
00:51:49,640 --> 00:51:52,200
Speaker 1: then we all got used to this world of no,

879
00:51:52,280 --> 00:51:54,120
Speaker 1: if I want to watch Who Framed Roger Rabbit, I

880
00:51:54,120 --> 00:51:55,799
Speaker 1: can watch it whenever I want, because I own that

881
00:51:55,880 --> 00:51:58,840
Speaker 1: VHS because I've taped it off the TV and was carefully,

882
00:51:59,000 --> 00:52:02,640
Speaker 1: carefully paused it every time a commercial came on. And

883
00:52:02,880 --> 00:52:05,160
Speaker 1: and so so that being the case, the fact that

884
00:52:05,200 --> 00:52:07,839
Speaker 1: the world's trying to take that away from us. I

885
00:52:07,880 --> 00:52:10,560
Speaker 1: know that in some regards, it's it's helpful. In some regards,

886
00:52:10,560 --> 00:52:12,640
Speaker 1: it is like this thing of like, oh, we're don't worry,

887
00:52:12,640 --> 00:52:15,759
Speaker 1: We're gonna save your shelf space. You don't need to

888
00:52:15,800 --> 00:52:18,799
Speaker 1: be your own personal curator anymore. But I think there

889
00:52:18,920 --> 00:52:21,840
Speaker 1: is an ulterior motive, which is money. And is that

890
00:52:21,920 --> 00:52:25,280
Speaker 1: ulterior I mean, I think that that's clearly the motive behind,

891
00:52:25,560 --> 00:52:30,760
Speaker 1: you know, the the VHS days, the Spotify days, everything

892
00:52:30,760 --> 00:52:33,840
Speaker 1: in between, the things before. Yeah. Yeah, and it's but

893
00:52:33,880 --> 00:52:35,759
Speaker 1: it just makes me a little sad that, like, I

894
00:52:35,800 --> 00:52:38,080
Speaker 1: can't watch that Pee Wee Herman movie whenever I want.

895
00:52:38,200 --> 00:52:41,320
Speaker 1: I can only watch it when I have access to Netflix,

896
00:52:41,560 --> 00:52:43,799
Speaker 1: you know, And that's that's sad to me. I do

897
00:52:43,920 --> 00:52:47,920
Speaker 1: think something like, like I consume most of my new music,

898
00:52:48,000 --> 00:52:49,920
Speaker 1: I consume a lot of old music from like places

899
00:52:49,960 --> 00:52:53,880
Speaker 1: like archive dot org, YouTube, but like band Camp, Oh

900
00:52:53,960 --> 00:52:55,839
Speaker 1: totally all damn it. I love band camp so much.

901
00:52:55,840 --> 00:52:59,000
Speaker 1: It's it's it's it's the best music platform of the

902
00:52:59,000 --> 00:53:01,960
Speaker 1: past twenty years period. I can stumble. I can just

903
00:53:02,000 --> 00:53:04,760
Speaker 1: go click a couple of things categories and just stumble

904
00:53:04,760 --> 00:53:07,239
Speaker 1: on random albums, pick albums based on the cover that

905
00:53:07,280 --> 00:53:09,520
Speaker 1: people put on there, which is not even recover really.

906
00:53:09,560 --> 00:53:11,239
Speaker 1: We call it I'm coloring it a cover, but it's

907
00:53:11,280 --> 00:53:13,200
Speaker 1: just an image that's sitting in a square on a

908
00:53:13,239 --> 00:53:18,399
Speaker 1: page album exactly. But I can in in a way

909
00:53:18,400 --> 00:53:20,319
Speaker 1: that I can't do in any other format, Like I

910
00:53:20,360 --> 00:53:23,480
Speaker 1: can't stumble. If you just click next video and YouTube,

911
00:53:23,960 --> 00:53:25,960
Speaker 1: you get stuff that you don't want to see. You

912
00:53:25,960 --> 00:53:29,440
Speaker 1: can't unseee can't on here. In band Camp, I end

913
00:53:29,520 --> 00:53:32,840
Speaker 1: up hearing things that I would never hear anywhere else, definitely,

914
00:53:32,880 --> 00:53:35,560
Speaker 1: And I do think that in some way that's you know,

915
00:53:36,400 --> 00:53:39,360
Speaker 1: is you know, owe something to to the digital revolution,

916
00:53:39,760 --> 00:53:42,360
Speaker 1: to this idea of but there's the twofold thing on

917
00:53:42,440 --> 00:53:44,320
Speaker 1: band camp to where it's like, hey, I've got my

918
00:53:44,360 --> 00:53:46,279
Speaker 1: album streaming here and it's free and you can listen

919
00:53:46,280 --> 00:53:48,799
Speaker 1: to it whenever you want. You could buy it and

920
00:53:48,840 --> 00:53:51,120
Speaker 1: it goes most of it goes directly to the artist,

921
00:53:51,800 --> 00:53:54,279
Speaker 1: or I maybe have a thing that I put on

922
00:53:54,320 --> 00:53:57,400
Speaker 1: tape cassette or on vinyl or some other I've got

923
00:53:57,440 --> 00:54:00,160
Speaker 1: a friend that does things on real to real, hand made,

924
00:54:00,239 --> 00:54:03,319
Speaker 1: real to reel, So that's great. But no, I think

925
00:54:03,320 --> 00:54:05,879
Speaker 1: that's fantastic. And also one of my favorite features about

926
00:54:05,880 --> 00:54:07,239
Speaker 1: band camp that you were just talking about, like the

927
00:54:07,280 --> 00:54:09,520
Speaker 1: discover ability of band camp is if you go to

928
00:54:09,560 --> 00:54:11,880
Speaker 1: the home page, um, they'll have this thing downe at

929
00:54:11,880 --> 00:54:14,320
Speaker 1: the bottom showing in real time what people are buying,

930
00:54:14,680 --> 00:54:16,480
Speaker 1: so like little things what pop up, like just like

931
00:54:16,480 --> 00:54:18,920
Speaker 1: a little albums like this just was bought in Denmark

932
00:54:19,040 --> 00:54:21,880
Speaker 1: for eight euros, This was just bought in Japan for

933
00:54:21,920 --> 00:54:24,879
Speaker 1: this much, etcetera, etcetera, etcetera. And if you just see

934
00:54:24,920 --> 00:54:27,040
Speaker 1: this stream of albums passing by your eyes and you

935
00:54:27,040 --> 00:54:29,360
Speaker 1: can just click on one and go what's this click

936
00:54:29,600 --> 00:54:31,239
Speaker 1: and you just see and it just reminds me of

937
00:54:31,320 --> 00:54:35,000
Speaker 1: being in a record store and seeing like a the

938
00:54:35,040 --> 00:54:38,080
Speaker 1: employee recommendations or seeing like we're just listening to the

939
00:54:38,080 --> 00:54:40,960
Speaker 1: stuff they're playing on the on the on the speakers

940
00:54:41,000 --> 00:54:42,839
Speaker 1: in there, and it's just nice like that, that sense

941
00:54:42,840 --> 00:54:45,879
Speaker 1: of discoverability I think is really valuable. And I'm I'm

942
00:54:45,960 --> 00:54:48,520
Speaker 1: I love band Camp. I think they are they are.

943
00:54:48,680 --> 00:54:51,200
Speaker 1: I know that they have a plenty of acclaim. I

944
00:54:51,200 --> 00:54:56,560
Speaker 1: think they are perpetually underrated only because they deserve all

945
00:54:56,680 --> 00:55:00,000
Speaker 1: the acclaim they need to be for artists too, I mean,

946
00:55:00,040 --> 00:55:01,879
Speaker 1: don't know exactly what the deal is, but the cut

947
00:55:02,000 --> 00:55:04,839
Speaker 1: is better, as I understand, than something makes Spotify. No,

948
00:55:04,880 --> 00:55:06,800
Speaker 1: my record labels on on band Camp, and so I

949
00:55:07,080 --> 00:55:09,600
Speaker 1: know exactly what the cut is. It's very little. It's

950
00:55:09,719 --> 00:55:13,000
Speaker 1: very little. They take like pennies. It's it's nothing. Yeah,

951
00:55:13,239 --> 00:55:16,640
Speaker 1: it's it's something you'll never even notice. And I like also,

952
00:55:17,200 --> 00:55:19,880
Speaker 1: um like sometimes like you know, you're listening like a

953
00:55:19,880 --> 00:55:21,960
Speaker 1: favor Wave of album for instance, and you're like, I

954
00:55:22,000 --> 00:55:23,720
Speaker 1: don't know what part of the world is came from.

955
00:55:23,760 --> 00:55:28,160
Speaker 1: I can't tell is this Japanese? Does it matter? I

956
00:55:28,280 --> 00:55:31,839
Speaker 1: have in the past year released two albums from two

957
00:55:31,840 --> 00:55:37,040
Speaker 1: completely different bands that both claim falsely that they are

958
00:55:37,120 --> 00:55:41,640
Speaker 1: from a small town in Greenland, and you just don't

959
00:55:41,640 --> 00:55:43,879
Speaker 1: know where they're from. Oh I know where actually, I

960
00:55:43,880 --> 00:55:45,360
Speaker 1: I personally know where they're from because I worked with

961
00:55:45,440 --> 00:55:49,360
Speaker 1: them both. But but the fact that two completely separate

962
00:55:49,400 --> 00:55:53,320
Speaker 1: bands both on band camp claim that they are from

963
00:55:53,520 --> 00:55:57,360
Speaker 1: the same town. It's called Nuke and I can't spell it,

964
00:55:57,360 --> 00:56:01,719
Speaker 1: but anyway, it's written in Greenlandic. But um uh, that

965
00:56:01,719 --> 00:56:03,600
Speaker 1: that that's claimed they are from the same small town

966
00:56:03,640 --> 00:56:06,919
Speaker 1: in Greenland makes me just so happy and just it's

967
00:56:06,920 --> 00:56:09,600
Speaker 1: just so strange to me. And they're very different genres,

968
00:56:09,640 --> 00:56:11,959
Speaker 1: they're very different everything. What one is like a pop

969
00:56:12,000 --> 00:56:15,080
Speaker 1: punk band and one is like a complete noise experimental band.

970
00:56:15,360 --> 00:56:17,399
Speaker 1: And they both are like, yeah, yeah, that's where we're from.

971
00:56:17,520 --> 00:56:20,640
Speaker 1: It's like, wow, no, you're not. But that's so cool

972
00:56:20,840 --> 00:56:22,880
Speaker 1: because you could be from anywhere, you could be anyone,

973
00:56:23,480 --> 00:56:25,319
Speaker 1: you know. I think a lot of my you know,

974
00:56:25,680 --> 00:56:29,160
Speaker 1: personal music education for a long time was very much

975
00:56:29,160 --> 00:56:33,279
Speaker 1: based on like English language music, you know, music that

976
00:56:33,760 --> 00:56:37,520
Speaker 1: was in characters that I can understand. And I feel like,

977
00:56:37,680 --> 00:56:41,160
Speaker 1: you know, perhaps you had to do a little bit

978
00:56:41,160 --> 00:56:43,040
Speaker 1: more work to get outside of that bubble before. And

979
00:56:43,080 --> 00:56:45,640
Speaker 1: it's becoming easier to sort of see through to the

980
00:56:45,640 --> 00:56:48,799
Speaker 1: other side. Yeah, and I really hope. I I don't

981
00:56:48,800 --> 00:56:51,160
Speaker 1: know people. I'm sure people do whatever is people do,

982
00:56:51,480 --> 00:56:54,160
Speaker 1: but I really hope people are taking advantage of that. Um.

983
00:56:54,200 --> 00:56:56,440
Speaker 1: I use my wife as a barometer for what is

984
00:56:57,080 --> 00:57:00,080
Speaker 1: actually reaching the world, because like she's very good that

985
00:57:00,120 --> 00:57:02,160
Speaker 1: at having her pulse on what's happening in the world.

986
00:57:02,400 --> 00:57:04,120
Speaker 1: A little more in touch and you're just in the

987
00:57:04,120 --> 00:57:07,360
Speaker 1: other room over your lace. Yeah, I have a similar

988
00:57:07,480 --> 00:57:10,520
Speaker 1: relationship in my life. Yeah. And and so quite often

989
00:57:10,560 --> 00:57:13,200
Speaker 1: if there's something I'm really enjoying, I'll say to my wife, hey,

990
00:57:13,200 --> 00:57:15,040
Speaker 1: do people actually know this or is this just me?

991
00:57:15,200 --> 00:57:17,040
Speaker 1: And she'll let me know if like no, no, no,

992
00:57:17,080 --> 00:57:18,960
Speaker 1: this is a very popular thing or no, no, no,

993
00:57:18,960 --> 00:57:21,600
Speaker 1: no one's ever heard of this, And that happened last night.

994
00:57:21,640 --> 00:57:23,760
Speaker 1: Speaking of foreign language music, have you ever listened to

995
00:57:23,760 --> 00:57:27,440
Speaker 1: a woman named Rosaliah. She's the best. She's a pop

996
00:57:27,480 --> 00:57:31,439
Speaker 1: star out of Spain, and I mean pop star straightforward,

997
00:57:31,520 --> 00:57:33,760
Speaker 1: Like she's incredibly good at what she does. But it's

998
00:57:33,800 --> 00:57:37,280
Speaker 1: just pop music, just playing straight pop music. But I've

999
00:57:37,280 --> 00:57:40,400
Speaker 1: seen to my wife, I'm like, clearly she's super popular, right,

1000
00:57:40,400 --> 00:57:42,959
Speaker 1: and she's like no, I'm like why she she sings

1001
00:57:43,000 --> 00:57:46,640
Speaker 1: in Spanish, I'm like, what what different? Oh, you know

1002
00:57:46,760 --> 00:57:49,160
Speaker 1: it maybe so sad? It was just like that. That's

1003
00:57:49,200 --> 00:57:53,040
Speaker 1: the that's the barrier. I can never times feel I

1004
00:57:53,200 --> 00:57:57,360
Speaker 1: very often feel put upon by lyrics. Yes, um, I

1005
00:57:57,440 --> 00:57:59,400
Speaker 1: you know I also subscribe a bit too. I don't

1006
00:57:59,400 --> 00:58:01,600
Speaker 1: have to go to for in this. But like John Cages,

1007
00:58:01,920 --> 00:58:05,640
Speaker 1: you know, school of thought that music doesn't have to

1008
00:58:05,680 --> 00:58:10,880
Speaker 1: be about expressing, you know, expressing anything. Really, it can

1009
00:58:10,960 --> 00:58:12,880
Speaker 1: just be fun to listen to. It can just be

1010
00:58:13,440 --> 00:58:17,760
Speaker 1: you can just you can just listen, yes, without necessarily

1011
00:58:17,800 --> 00:58:20,000
Speaker 1: like having to have someone's feelings put upon you or

1012
00:58:20,200 --> 00:58:22,800
Speaker 1: or their message. And I do feel like if I

1013
00:58:22,840 --> 00:58:26,680
Speaker 1: am going to listen to lyrical music, music with vocals,

1014
00:58:26,880 --> 00:58:30,560
Speaker 1: it's sometimes really nice when it's like said icelandic it

1015
00:58:30,560 --> 00:58:35,040
Speaker 1: doesn't matter matter. Um. There was this you know, the

1016
00:58:35,080 --> 00:58:37,560
Speaker 1: band as gur Ross of course, yeah, that they had

1017
00:58:37,720 --> 00:58:41,439
Speaker 1: this one song whose sings not exclusively in Iceland. There's

1018
00:58:41,440 --> 00:58:44,840
Speaker 1: a there's Alantic right, yes, they're they're made up language

1019
00:58:44,840 --> 00:58:47,880
Speaker 1: of hope landic. Um, they released this one song. I'm

1020
00:58:47,920 --> 00:58:49,320
Speaker 1: gonna say, Oh, it was a while ago now, I've

1021
00:58:49,320 --> 00:58:50,600
Speaker 1: gotta be at least a decade where they were like

1022
00:58:50,600 --> 00:58:53,160
Speaker 1: it's our first English language song. Check it out and

1023
00:58:53,200 --> 00:58:54,640
Speaker 1: they played it and I listened to it. I was

1024
00:58:54,640 --> 00:58:56,360
Speaker 1: really excited. I was like, it sounds like the rest,

1025
00:58:56,520 --> 00:58:58,040
Speaker 1: you know what I mean, Like it doesn't matter. I

1026
00:58:58,120 --> 00:59:00,920
Speaker 1: remember that, I remember reading about that. Yeah, it was

1027
00:59:01,000 --> 00:59:04,680
Speaker 1: during the GOBALTI book like era, which I think was

1028
00:59:04,720 --> 00:59:07,240
Speaker 1: a great era. I agree, I agree, I agree. I

1029
00:59:07,280 --> 00:59:14,080
Speaker 1: believe that z Uh married an American guy. Yeah, yeah,

1030
00:59:14,560 --> 00:59:16,960
Speaker 1: it's um let's see their their group. His name is

1031
00:59:16,960 --> 00:59:20,000
Speaker 1: Alex Alex Summer. I want to say, because they have

1032
00:59:20,000 --> 00:59:23,200
Speaker 1: a band called yon Zi and Alex and they're very

1033
00:59:23,280 --> 00:59:27,720
Speaker 1: very good. Yeah yeah, maybe a little bit more upbeat figures. Yeah,

1034
00:59:27,840 --> 00:59:31,600
Speaker 1: I'll also um look into Alex Summer's brother is also

1035
00:59:31,600 --> 00:59:35,640
Speaker 1: an amazing musician. Well yeah yeah, but yeah also good.

1036
00:59:35,920 --> 00:59:38,400
Speaker 1: Yeah yeah, we maybe got off track a little bit.

1037
00:59:38,440 --> 00:59:41,680
Speaker 1: Definitely records, so you cut all the roast records on

1038
00:59:41,760 --> 00:59:44,240
Speaker 1: your now let me you know, let me ask you,

1039
00:59:44,800 --> 00:59:49,600
Speaker 1: is is business booming? Does? My business always has inquiries?

1040
00:59:49,680 --> 00:59:53,360
Speaker 1: Literally every single day I have a new email from somebody.

1041
00:59:53,480 --> 00:59:57,320
Speaker 1: But a lot of it is people just kind of exploring.

1042
00:59:57,520 --> 01:00:01,600
Speaker 1: A lot of people don't really know what's happening with

1043
01:00:02,080 --> 01:00:05,120
Speaker 1: both what I'm doing and just music writ large. So like,

1044
01:00:05,240 --> 01:00:08,920
Speaker 1: for example, I would say, on a daily basis, daily,

1045
01:00:09,360 --> 01:00:13,960
Speaker 1: no close to daily, I get an email from someone going, hey,

1046
01:00:14,400 --> 01:00:15,920
Speaker 1: will you make me a record? I'm like, yeah, sure,

1047
01:00:15,960 --> 01:00:17,600
Speaker 1: what you need And they're like, well, I want this

1048
01:00:17,640 --> 01:00:19,880
Speaker 1: Eagles song on one side and I want this Madonna

1049
01:00:19,960 --> 01:00:24,040
Speaker 1: song on the other side. I'm like, no, no, no, no, no, copyright, copyright.

1050
01:00:24,320 --> 01:00:26,560
Speaker 1: I can't do that for you, of course not. You know, like,

1051
01:00:26,720 --> 01:00:29,320
Speaker 1: why would why would you want that? Exactly? I've heard

1052
01:00:29,320 --> 01:00:31,640
Speaker 1: a couple of things. One is, um, if they own

1053
01:00:31,720 --> 01:00:35,840
Speaker 1: their own personal jukeboxes in their own homes, Okay, that's

1054
01:00:35,880 --> 01:00:38,760
Speaker 1: kind of cool. Yeah. And then the other reason I

1055
01:00:39,720 --> 01:00:41,960
Speaker 1: have heard from DJs where if there's if they are

1056
01:00:42,040 --> 01:00:44,800
Speaker 1: a vinyl only DJ, that makes sense and they want

1057
01:00:44,800 --> 01:00:46,240
Speaker 1: to keep that going here in DJ you should be

1058
01:00:46,240 --> 01:00:50,520
Speaker 1: got to shuffle your disks, I mean, but and then um, gosh,

1059
01:00:50,520 --> 01:00:52,040
Speaker 1: there was one other reason. Oh, and then I think

1060
01:00:52,040 --> 01:00:54,240
Speaker 1: people who are literally just getting into vinyl for the

1061
01:00:54,280 --> 01:00:57,080
Speaker 1: first time and they're just curious, they know what they

1062
01:00:57,120 --> 01:00:59,120
Speaker 1: like and maybe it's a gift for someone. Could it

1063
01:00:59,160 --> 01:01:01,680
Speaker 1: could be lots of reason, But every time I obviously

1064
01:01:01,680 --> 01:01:03,640
Speaker 1: say no, because I like, no, no, The copyright law.

1065
01:01:03,720 --> 01:01:07,320
Speaker 1: That's very illegal putting Madonna on it, not unless you're

1066
01:01:08,320 --> 01:01:10,720
Speaker 1: unless your name is Madonna. I'm not putting Madonna on

1067
01:01:10,720 --> 01:01:12,920
Speaker 1: a record for you. I'm very very sorry. So so

1068
01:01:13,000 --> 01:01:15,160
Speaker 1: things like that come up a lot um. I'll also

1069
01:01:15,160 --> 01:01:18,400
Speaker 1: get a lot of people that again, because vinyl has

1070
01:01:18,400 --> 01:01:20,520
Speaker 1: had a resurgence, i'd say in the past decade, you know,

1071
01:01:21,120 --> 01:01:23,439
Speaker 1: so a lot of people are wanting to just do

1072
01:01:23,560 --> 01:01:25,760
Speaker 1: something with it, but they don't really understand it. So like,

1073
01:01:25,800 --> 01:01:28,880
Speaker 1: for example, on a seven inch record, I can put

1074
01:01:28,920 --> 01:01:31,200
Speaker 1: about five minutes on each side, five minutes of audio.

1075
01:01:31,560 --> 01:01:33,480
Speaker 1: So someone will be like, oh, hey, can I put

1076
01:01:33,480 --> 01:01:35,360
Speaker 1: this song on on this record? And they'll send me like, oh,

1077
01:01:35,400 --> 01:01:37,400
Speaker 1: let's say a seven minute song, Like, oh, actually, no,

1078
01:01:37,480 --> 01:01:38,720
Speaker 1: we can't put this on a seven inch. I can

1079
01:01:38,720 --> 01:01:40,120
Speaker 1: put this on a ten inch or a twelve inch

1080
01:01:40,240 --> 01:01:43,160
Speaker 1: for you, but I can only put five minutes on

1081
01:01:43,200 --> 01:01:45,200
Speaker 1: a on a seven inch record. And they're like, oh, well,

1082
01:01:45,240 --> 01:01:47,640
Speaker 1: can't we just make it fit. It's like, ah, like

1083
01:01:47,720 --> 01:01:51,640
Speaker 1: it's literally space. It's like literally space and time, Like

1084
01:01:51,680 --> 01:01:56,880
Speaker 1: it's we can't. We literally cannot. If you yeah, if

1085
01:01:56,920 --> 01:02:01,040
Speaker 1: you don't, um, I suppose if you maybe if you

1086
01:02:01,080 --> 01:02:03,680
Speaker 1: didn't grow up with it. You just really haven't thought

1087
01:02:03,760 --> 01:02:08,560
Speaker 1: about you even thought about the Literal Record, the Literal Grooves,

1088
01:02:08,680 --> 01:02:11,200
Speaker 1: the thirty three and the third revolutions per minutes, like

1089
01:02:11,240 --> 01:02:13,320
Speaker 1: you don't if you don't think about it as a

1090
01:02:14,000 --> 01:02:15,720
Speaker 1: because because definitely I get a lot of kids to

1091
01:02:16,360 --> 01:02:18,560
Speaker 1: kids who are brand new to this world and which

1092
01:02:18,560 --> 01:02:21,840
Speaker 1: I think is so cool. Absolutely absolutely that makes me

1093
01:02:22,000 --> 01:02:25,960
Speaker 1: very very happy and and it's it's so great. Like

1094
01:02:25,960 --> 01:02:27,440
Speaker 1: one of my favorite things in the world to do

1095
01:02:28,000 --> 01:02:31,280
Speaker 1: is putting out um an EP for a band where

1096
01:02:31,320 --> 01:02:33,680
Speaker 1: their entire EP fits on a seven inch. That makes

1097
01:02:33,720 --> 01:02:36,440
Speaker 1: me so happy, like like young like punk bands today,

1098
01:02:36,720 --> 01:02:39,080
Speaker 1: that makes me so happy. Where it's just like, oh,

1099
01:02:39,160 --> 01:02:41,560
Speaker 1: you kids, you're doing it. Good for you, you know,

1100
01:02:42,360 --> 01:02:46,640
Speaker 1: And um, it's fun too. Are having a Millennials are

1101
01:02:46,640 --> 01:02:50,160
Speaker 1: tracking down turntables exactly good. It's very good, it is,

1102
01:02:50,320 --> 01:02:52,600
Speaker 1: and and most most people get it. I would say

1103
01:02:52,840 --> 01:02:55,720
Speaker 1: I only get angry people who are mad at me

1104
01:02:55,840 --> 01:02:58,760
Speaker 1: for not making hi fi records maybe once a month.

1105
01:02:59,000 --> 01:03:02,680
Speaker 1: But it's so easy to get high fire records exactly. No. No,

1106
01:03:02,800 --> 01:03:05,280
Speaker 1: My my my stance is very very simple. It's that

1107
01:03:05,960 --> 01:03:07,760
Speaker 1: if you want to high fire record, you can get it.

1108
01:03:07,880 --> 01:03:10,680
Speaker 1: And if you want something that sounds exactly like the

1109
01:03:10,720 --> 01:03:13,240
Speaker 1: digital file, you got the digital file like it's it

1110
01:03:13,280 --> 01:03:16,160
Speaker 1: goes back to that camera and painting metaphor. It's like,

1111
01:03:16,200 --> 01:03:19,720
Speaker 1: I'm I'm not doing that. I'm making something else. I'm

1112
01:03:19,720 --> 01:03:22,600
Speaker 1: making a a side path, a side route, and you

1113
01:03:22,640 --> 01:03:24,400
Speaker 1: don't have to have it, you know what I mean. Like,

1114
01:03:24,840 --> 01:03:27,640
Speaker 1: I'm not insisting that everyone listens to low five Motto

1115
01:03:27,720 --> 01:03:30,840
Speaker 1: records that were handmade. That's that's that'd be silly. But

1116
01:03:30,920 --> 01:03:32,840
Speaker 1: if you want it, I got it for you. I

1117
01:03:32,880 --> 01:03:34,720
Speaker 1: want I want to right now. Why don't you play

1118
01:03:34,760 --> 01:03:36,800
Speaker 1: me the last one that you got queued up here?

1119
01:03:36,800 --> 01:03:39,800
Speaker 1: You got it, you got it. I got the label

1120
01:03:39,800 --> 01:03:43,080
Speaker 1: on this one. This is a band called Undercover Monsters

1121
01:03:43,280 --> 01:03:47,720
Speaker 1: and this is their EP called Trash Friends and Great Names. Guys.

1122
01:03:47,800 --> 01:03:49,840
Speaker 1: They contacted me and they're just like the logo of

1123
01:03:49,880 --> 01:03:51,880
Speaker 1: the band isn't this font? Can you write that on

1124
01:03:51,960 --> 01:03:53,880
Speaker 1: eight of the records? And like, of course that's all

1125
01:03:53,920 --> 01:03:56,040
Speaker 1: you do. You just cut just cut in the name

1126
01:03:56,080 --> 01:03:57,760
Speaker 1: in cursive. Yeah, I just I just got my little

1127
01:03:57,760 --> 01:04:03,240
Speaker 1: etching tool and one record at a time. But it's fun.

1128
01:04:03,600 --> 01:04:06,120
Speaker 1: That is certainly not something you can call just anyone

1129
01:04:06,200 --> 01:04:09,200
Speaker 1: to do for you. No, No, but it's it's I

1130
01:04:09,280 --> 01:04:11,200
Speaker 1: like art, like art for art's sake, and I like

1131
01:04:11,320 --> 01:04:13,960
Speaker 1: making things, and so if other people want to do

1132
01:04:14,000 --> 01:04:16,439
Speaker 1: those things, I'm here for them, you know. So Yeah,

1133
01:04:16,440 --> 01:04:19,520
Speaker 1: this is a band called Undercover Monsters. Trash friends and

1134
01:04:19,560 --> 01:04:21,520
Speaker 1: then make a just you know, some fun party pop

1135
01:04:21,560 --> 01:04:28,400
Speaker 1: punk tik kind of stuff. Truys start from the beginning.

1136
01:04:32,080 --> 01:04:49,160
Speaker 1: It's fun. Get some good fully in here. Floy We

1137
01:04:49,280 --> 01:04:58,840
Speaker 1: like somebody. We don't goss, We don't we like some

1138
01:04:59,800 --> 01:05:02,320
Speaker 1: im I saw. We don't mind nobody because we're just

1139
01:05:02,520 --> 01:05:04,480
Speaker 1: kids to rock the mic pride when we run the

1140
01:05:04,560 --> 01:05:07,960
Speaker 1: mic right, rock the mic frind s. It's all because

1141
01:05:08,040 --> 01:05:12,560
Speaker 1: of me. I'm feeling side and food now then you're gone.

1142
01:05:12,600 --> 01:05:18,479
Speaker 1: It's ready dead me. I really love yes, so how

1143
01:05:18,600 --> 01:05:21,760
Speaker 1: much you neverver No, because you took my truck to

1144
01:05:21,840 --> 01:05:27,640
Speaker 1: wed frock me Slunday night. We like somebody with outcast

1145
01:05:27,720 --> 01:05:30,000
Speaker 1: I we talk about that nobody cause were there some

1146
01:05:30,120 --> 01:05:32,080
Speaker 1: kids and rock the mic right and we run the

1147
01:05:32,160 --> 01:05:35,160
Speaker 1: mike right and rock them like fry Monday, not even.

1148
01:05:35,320 --> 01:05:37,920
Speaker 1: We like to fight, don't goss summer. We don't by

1149
01:05:38,080 --> 01:05:40,720
Speaker 1: nobody because we do some kids to rock the mike Rick,

1150
01:05:40,920 --> 01:05:43,000
Speaker 1: we ruck the bike, rack the rock the right right.

1151
01:05:43,360 --> 01:05:46,120
Speaker 1: Why don't you give me some way we can break

1152
01:05:46,160 --> 01:05:49,720
Speaker 1: it down. The market's way that and there give me that. Okay,

1153
01:05:50,160 --> 01:05:53,360
Speaker 1: I can give you all my love, said dad, Donkey Doggy.

1154
01:05:53,680 --> 01:05:56,479
Speaker 1: Can't you see sometimes you brikes his him and times

1155
01:05:57,040 --> 01:06:01,240
Speaker 1: I just stop all you tassy wags, Tommy Donty scary

1156
01:06:06,920 --> 01:06:12,920
Speaker 1: kids and rock the mic Prime when Prime rock the pipe, Riddy,

1157
01:06:13,240 --> 01:06:17,400
Speaker 1: don't cos body cut the kids and rock them like bright.

1158
01:06:22,800 --> 01:06:28,800
Speaker 1: Oh yeah, so you can probably get a lot of

1159
01:06:29,600 --> 01:06:32,120
Speaker 1: punk songs on a twelve inch yeah, oh yeah, yeah,

1160
01:06:32,320 --> 01:06:34,560
Speaker 1: Um a lot of times. I've done a lot of

1161
01:06:34,800 --> 01:06:39,560
Speaker 1: um single sided punk twelve inch gps. There's been a

1162
01:06:39,640 --> 01:06:42,080
Speaker 1: lot of that, and uh and it's fun. It's a

1163
01:06:42,120 --> 01:06:45,000
Speaker 1: lot of fun. I mean, like if art is actually

1164
01:06:45,440 --> 01:06:47,560
Speaker 1: this is a big thing in my life in general.

1165
01:06:48,360 --> 01:06:53,240
Speaker 1: I really, really really am happy that becoming a musician

1166
01:06:53,440 --> 01:06:56,160
Speaker 1: is no longer a get rich quick scheme because remember,

1167
01:06:56,240 --> 01:06:58,400
Speaker 1: like back in I'm gonna say the late nineties into

1168
01:06:58,400 --> 01:07:02,240
Speaker 1: the early two thousand's probably probably longer ago people wanted

1169
01:07:02,240 --> 01:07:05,000
Speaker 1: to become quote unquote rock stars or pop stars or

1170
01:07:05,200 --> 01:07:09,120
Speaker 1: musicians in general because it was a get rich quick scheme.

1171
01:07:09,280 --> 01:07:10,520
Speaker 1: It was like, Oh, that's how I'll make a lot

1172
01:07:10,520 --> 01:07:12,560
Speaker 1: of money, I'll become a musician. Well, that sort of

1173
01:07:12,920 --> 01:07:17,920
Speaker 1: ties in timeline wise with like particular kind of commodification

1174
01:07:18,040 --> 01:07:20,919
Speaker 1: of artists you think of, like the boy band era,

1175
01:07:21,560 --> 01:07:23,680
Speaker 1: that sort of thing. And not too long after that,

1176
01:07:24,080 --> 01:07:26,320
Speaker 1: that's when napster kicked in and all these other things

1177
01:07:26,400 --> 01:07:30,320
Speaker 1: kicked in, which made it's not so easy to make

1178
01:07:30,680 --> 01:07:34,000
Speaker 1: money from music, and so a lot of people who

1179
01:07:34,040 --> 01:07:36,240
Speaker 1: were only in it for the money they went away.

1180
01:07:36,960 --> 01:07:41,240
Speaker 1: And I love that because it means that anyone who's

1181
01:07:41,440 --> 01:07:43,240
Speaker 1: still doing it, they do it because they love it,

1182
01:07:43,520 --> 01:07:47,320
Speaker 1: and those are the best people in the world. I agree, Seth,

1183
01:07:47,440 --> 01:07:51,360
Speaker 1: Tell me tell the listening public where they can find

1184
01:07:51,800 --> 01:07:55,880
Speaker 1: more about your record label. Um, I would say the

1185
01:07:55,920 --> 01:07:58,320
Speaker 1: best place to find me is you go to Haunted

1186
01:07:58,360 --> 01:08:00,760
Speaker 1: Birthday dot com. That's the that's the main place, and

1187
01:08:00,840 --> 01:08:02,520
Speaker 1: then you can go from there to find the social

1188
01:08:02,560 --> 01:08:05,919
Speaker 1: media sites, etcetera, etcetera. Actually, I suppose, since we're talking

1189
01:08:06,000 --> 01:08:08,320
Speaker 1: so much about what these things look like, a really

1190
01:08:08,360 --> 01:08:10,320
Speaker 1: good place to go would be to my Instagram page,

1191
01:08:10,360 --> 01:08:13,000
Speaker 1: which would be at Haunted Birthday, And there's a great

1192
01:08:13,080 --> 01:08:15,720
Speaker 1: couple of videos that you've done of this process, because

1193
01:08:15,760 --> 01:08:18,479
Speaker 1: describing it and seeing it are death are definitely different things.

1194
01:08:18,520 --> 01:08:20,600
Speaker 1: So I will I will include a link to that

1195
01:08:20,680 --> 01:08:22,479
Speaker 1: in an easy to find place, because I mean, like

1196
01:08:22,560 --> 01:08:25,120
Speaker 1: the the the interesting thing about this process, like I've

1197
01:08:25,120 --> 01:08:27,479
Speaker 1: been saying, is a lot of its education, like just

1198
01:08:27,560 --> 01:08:30,519
Speaker 1: letting people know what it is that I'm even doing,

1199
01:08:30,920 --> 01:08:33,160
Speaker 1: you know, and um, so that that's why I made

1200
01:08:33,200 --> 01:08:36,719
Speaker 1: these videos. I have learned a lot today about exactly

1201
01:08:36,800 --> 01:08:39,160
Speaker 1: how this works. So I surely have a lot more questions.

1202
01:08:39,200 --> 01:08:41,439
Speaker 1: I think most of my questions might be the kind

1203
01:08:41,560 --> 01:08:45,280
Speaker 1: that would bore people. That's understandable. But I want to

1204
01:08:45,280 --> 01:08:47,519
Speaker 1: talk more about that curve off. Mike, You and I

1205
01:08:47,600 --> 01:08:50,400
Speaker 1: can talk all day about all the really boring stuff

1206
01:08:50,680 --> 01:08:54,080
Speaker 1: about like groove depth and the r I a acres. Yeah,

1207
01:08:54,240 --> 01:08:56,760
Speaker 1: I mean, think about like the depths of the depth

1208
01:08:56,840 --> 01:08:59,920
Speaker 1: of sound. That is the difference between a traditional like

1209
01:09:00,040 --> 01:09:03,599
Speaker 1: hundred eighty gram record and me just pushing a ruby

1210
01:09:03,640 --> 01:09:06,479
Speaker 1: as hard as I can into a piece of plastic,

1211
01:09:06,720 --> 01:09:09,240
Speaker 1: you know what I mean, Like the depth of sound

1212
01:09:09,320 --> 01:09:11,720
Speaker 1: you can get from a quote unquote real record is

1213
01:09:11,880 --> 01:09:15,120
Speaker 1: so much deeper. But that's that's that's that's that trade off.

1214
01:09:15,439 --> 01:09:17,880
Speaker 1: It's that, well, do you have three fans and a

1215
01:09:17,880 --> 01:09:20,639
Speaker 1: whole bunch of money or do you need two copies?

1216
01:09:20,680 --> 01:09:23,479
Speaker 1: And you can do whatever you want? And it's it's

1217
01:09:23,479 --> 01:09:25,360
Speaker 1: a trade off. You do whatever you want to do.

1218
01:09:27,200 --> 01:09:29,080
Speaker 1: You got one more thing to play us? Play us

1219
01:09:29,120 --> 01:09:34,439
Speaker 1: out here? Um maybe giant stack of handmade records. Yeah,

1220
01:09:34,560 --> 01:09:36,320
Speaker 1: you know, it all depends on who I have the

1221
01:09:36,479 --> 01:09:41,120
Speaker 1: rights from. Let's see here. Oh no, I'll go ahead

1222
01:09:41,160 --> 01:09:43,479
Speaker 1: and say thanks a lot for coming in and doing

1223
01:09:43,520 --> 01:09:46,080
Speaker 1: this absolutely, and thank you to the artists also that

1224
01:09:46,280 --> 01:09:48,040
Speaker 1: I contacted to say, hey, do you mind if we

1225
01:09:48,120 --> 01:09:50,400
Speaker 1: play your music on the show today? Thank you to

1226
01:09:50,479 --> 01:09:53,040
Speaker 1: them for allowing us to play their music publicly. That's

1227
01:09:53,320 --> 01:10:05,679
Speaker 1: very nice of them. Thanks artists. Let's go someplace where

1228
01:10:05,840 --> 01:10:08,280
Speaker 1: no one knows times you could play in town Gate

1229
01:10:08,479 --> 01:10:11,560
Speaker 1: and shall blow. I may be in the crab, but

1230
01:10:11,880 --> 01:10:17,519
Speaker 1: I'm only with you. I know, we just meant And

1231
01:10:17,640 --> 01:10:20,880
Speaker 1: then's okay. I got phot of n St again, which

1232
01:10:20,920 --> 01:10:24,840
Speaker 1: to day I can't keep seeing r one girl to

1233
01:10:28,439 --> 01:10:32,120
Speaker 1: see ship stand So the new kids, so keep pretty

1234
01:10:32,200 --> 01:10:36,160
Speaker 1: down a show, no ang fight the children of the

1235
01:10:36,320 --> 01:10:40,880
Speaker 1: night and time to be prag don't be this, led

1236
01:10:41,080 --> 01:10:44,439
Speaker 1: by all of the dentists, even the one to post

1237
01:10:45,400 --> 01:10:59,720
Speaker 1: oh yeah, yeah, I'd like the dark one but me

1238
01:11:00,320 --> 01:11:14,559
Speaker 1: like like Sati sends to the evil Tachists, like child

1239
01:11:22,160 --> 01:11:28,840
Speaker 1: Sah sends him to it. So shock me to find

1240
01:11:29,840 --> 01:11:36,160
Speaker 1: the night and child Tops, led by all of the dead,

1241
01:11:36,400 --> 01:11:54,599
Speaker 1: is given best Yeah. Thanks to Elias Mason in June York,

1242
01:11:54,920 --> 01:11:58,880
Speaker 1: Puma Shock and Undercover Monsters for letting us play their music.

1243
01:11:59,479 --> 01:12:03,360
Speaker 1: The eye, his ears, hands and brain behind Haunted Birthday

1244
01:12:03,400 --> 01:12:07,439
Speaker 1: Records is Seth Nicholas Johnson. See this process in action

1245
01:12:07,600 --> 01:12:10,680
Speaker 1: and get your own record produced at Haunted Birthday dot

1246
01:12:10,800 --> 01:12:13,880
Speaker 1: com and follow up on everything you heard here at

1247
01:12:13,920 --> 01:12:46,800
Speaker 1: a fem dot show. For more podcasts from i Heeart Radio,

1248
01:12:47,160 --> 01:12:50,639
Speaker 1: visit the I Heart Radio app, Apple Podcasts, or wherever

1249
01:12:50,720 --> 01:12:52,320
Speaker 1: you listen to your favorite shows.